Hello Porto members.
There are still tickets left for Jasmin's production of Justitia on Tuesday 7th April 2009.
You can purchase tickets here http://www.lichfieldgarrick.com/Shows/Justitia/index.asp
Dan
Yesterday
Jasmin Vardimon Company
Wednesday 1 April 2009
Post Three Nicole Dixon
1. Critically reflect on how the ‘R’ (research/resource) phase of devising has moved onto the ‘S’ (score) phase of devising in the creative journey of Porto.
You might need to briefly establish what is meant by ‘research/resource’ and ‘score’ within the devising process before you discuss its place within Porto’s development. (200 words)
The ‘R’ phase in the devising process of Porto has been very crucial as without this phase the RSVP model would not have its strength or even exist. ‘R’ represents the research and resource of the process; this is the initial exploration stages of Porto, where performers are establishing their characters, and are introduced to Porto. This phase of performance in a sense is focused on impulse, and where this impulse takes you. ‘[…] the ability to listen to your body is so essential. It can sense what is really going on in any situation, and can offer a physical hint about the desired course of action.’ (Marshall & Oida, 2002, p33) This is the foundation of the ‘R’ phase, it is more experimentation than anything, and beginning to think and understand why your body is doing what it is doing. The next stage of development is the ‘S’ phase of devising, which is the score element of the process. As in music, score in Porto is structuring and reasoning of the material. So in relation to the ‘R’ phase, it is developing what has already been formed, so it is more clear, and with grounds, not just performing for the sake of doing so. In response to the initial impulse you followed in the ‘R’ phase, the score modifies them; this is done through rehearsal and development of material. ‘Once you are connected to your body and able to listen to it, another realm of possibilities emerges’ (Marshall & Oida, 2002, p31)
2. As Porto is starting to be scored, discuss if there is any structure or narrative that is beginning to emerge through it. Give reasons for your answer. (200 words)
‘It is impossible for any theatre piece not to convey meaning – intended or otherwise – though the bodies of the actors. As spectators we construct meaning through all the senses even in a conventional play.’ (Keefe & Murray, 2007, p92) Within performance the audience will try connote and impose a meaning upon what they are seeing, even if not intended to do so.
As with any performance, there is always a structure, unless it is purely improvisation. Even if you cannot see it initially, there will be one. Within Porto it has felt like there has never been a clear structure, but that is because there isn’t a fixed order. But that in itself is a structure as this too represents the characters within Porto, and their lack in stability and structure. I don’t think their will be a ‘structure’ set in place. The only structure that is clear and that can be agreed upon is that there characters are going on a journey through the liminal space.
3. Discuss your own character’s transition from the ‘R’ phase to the ‘S’ phase of devising Porto. How has it grown, adjusted and become more tangible (physically and emotionally) through the progress of the devising process? (200 words)
A character in a play, like each of us, is constantly growing and changing in response to her life experiences – the people, places, things and situations with which she comes in contact.” (Alberts, 1997, p47)
If I saw this quote at the start of the module I don’t think I would have been as stressed as I was, when I felt that my character was not developing. I knew that each person developed at different rates, but I felt I was going backwards rather that forward. So for me the ‘R’ phase of devising Porto was a struggle. It wasn’t until the ‘S’ phase that I realised that even though I felt my character was not growing, infect she was. I had to understand what was holding my character back from developing, and realised it was in fact herself, and her own insecurities. By understanding this, my character has now been able develop both physically and emotionally and I now have a stronger sense of connection to my character. The ‘R’ phase has been fundamental and without this I would ever have been able to reach the ‘S’ phase. I would never have been able to see the full potential of my character. With that I know that my character will now be forever developing, in order to become comfortable with her surrounding and trying to find that positive end to her journey through Porto.
NICOLE DIXON
Bibliography
ALBERTS, D. 1997. The Expressive Body. Heinemann.
KEEFE, J & MURRAY, S. 2007. Physical Theatres: A Critical Introduction. Oxon: Routledge
MARSHALL, L & OIDA, Y. 2002. The Body Speaks: performance and expression. Palgrave Macmillan
You might need to briefly establish what is meant by ‘research/resource’ and ‘score’ within the devising process before you discuss its place within Porto’s development. (200 words)
The ‘R’ phase in the devising process of Porto has been very crucial as without this phase the RSVP model would not have its strength or even exist. ‘R’ represents the research and resource of the process; this is the initial exploration stages of Porto, where performers are establishing their characters, and are introduced to Porto. This phase of performance in a sense is focused on impulse, and where this impulse takes you. ‘[…] the ability to listen to your body is so essential. It can sense what is really going on in any situation, and can offer a physical hint about the desired course of action.’ (Marshall & Oida, 2002, p33) This is the foundation of the ‘R’ phase, it is more experimentation than anything, and beginning to think and understand why your body is doing what it is doing. The next stage of development is the ‘S’ phase of devising, which is the score element of the process. As in music, score in Porto is structuring and reasoning of the material. So in relation to the ‘R’ phase, it is developing what has already been formed, so it is more clear, and with grounds, not just performing for the sake of doing so. In response to the initial impulse you followed in the ‘R’ phase, the score modifies them; this is done through rehearsal and development of material. ‘Once you are connected to your body and able to listen to it, another realm of possibilities emerges’ (Marshall & Oida, 2002, p31)
2. As Porto is starting to be scored, discuss if there is any structure or narrative that is beginning to emerge through it. Give reasons for your answer. (200 words)
‘It is impossible for any theatre piece not to convey meaning – intended or otherwise – though the bodies of the actors. As spectators we construct meaning through all the senses even in a conventional play.’ (Keefe & Murray, 2007, p92) Within performance the audience will try connote and impose a meaning upon what they are seeing, even if not intended to do so.
As with any performance, there is always a structure, unless it is purely improvisation. Even if you cannot see it initially, there will be one. Within Porto it has felt like there has never been a clear structure, but that is because there isn’t a fixed order. But that in itself is a structure as this too represents the characters within Porto, and their lack in stability and structure. I don’t think their will be a ‘structure’ set in place. The only structure that is clear and that can be agreed upon is that there characters are going on a journey through the liminal space.
3. Discuss your own character’s transition from the ‘R’ phase to the ‘S’ phase of devising Porto. How has it grown, adjusted and become more tangible (physically and emotionally) through the progress of the devising process? (200 words)
A character in a play, like each of us, is constantly growing and changing in response to her life experiences – the people, places, things and situations with which she comes in contact.” (Alberts, 1997, p47)
If I saw this quote at the start of the module I don’t think I would have been as stressed as I was, when I felt that my character was not developing. I knew that each person developed at different rates, but I felt I was going backwards rather that forward. So for me the ‘R’ phase of devising Porto was a struggle. It wasn’t until the ‘S’ phase that I realised that even though I felt my character was not growing, infect she was. I had to understand what was holding my character back from developing, and realised it was in fact herself, and her own insecurities. By understanding this, my character has now been able develop both physically and emotionally and I now have a stronger sense of connection to my character. The ‘R’ phase has been fundamental and without this I would ever have been able to reach the ‘S’ phase. I would never have been able to see the full potential of my character. With that I know that my character will now be forever developing, in order to become comfortable with her surrounding and trying to find that positive end to her journey through Porto.
NICOLE DIXON
Bibliography
ALBERTS, D. 1997. The Expressive Body. Heinemann.
KEEFE, J & MURRAY, S. 2007. Physical Theatres: A Critical Introduction. Oxon: Routledge
MARSHALL, L & OIDA, Y. 2002. The Body Speaks: performance and expression. Palgrave Macmillan
Task 3 Antoinette McCook
“Improvisation helps directors and actors to explore beneath and between the
character's lines of dialogue.” (Polsky.E. Milton, 1997 p316)
By researching in terms of improvisation and play, it has allowed individuals to explore common similarities and differences within Porto. This in turn, adds new physical vocabulary for characters and to the piece itself. Opportunities have arrived for some, where there are larger risks factors and some key moments were characters develop. As a result, leaving the greater impact on the assemble work emotionally and physically. One could only image how visually breath taking this is and therefore shaping the product is probably more important than the action it’s self. The piece is completely reliant on visuals, hence the urgency for structure and shaping is imperative to the process of the production. As it requires all details whether minor or large to be precise, so that the signs within a piece are successfully delivered to its audience. After all, the receiver of the art is in some way a creator as she or he will decide what the performance is saying emotionally and physically, which is why shaping is crucial to the interpretation of the reader.
Porto started off based on the idea of travel and baggage, how individuals deal with load. Porto has now moved on to represent more than that, it now shows how individuals define who they are through the use of others and their baggage. In this sense Porto doesn’t sit far from the world as we know it, as humans constantly try to find out who they are through oppositions and similarities. Poststructuralism and international relations by Jenny Edkins explains that “Language is a system of interdependent terms in which the value of each term results solely from the simultaneous presence of the others...”(1999 p.24) Although she is concerned with literature, the quote reinforces that individuals exist purely through the existence of others, in other words, we are fragmentations of a whole and cannot exist alone. This is how the community of Porto is built and individuality exits. Similarly, Litz Pisk explains that in terms of air, rhythm, beat, awareness and others you as a performer “[...] make their existence present in your own and widen the possibilities of communication.”(The Actor and His Body 1975 p.12). As a whole, it has a constant reminder of relationships, how they are built, sustained and then broken, for me this reinforces the eternal stay within Porto and that the journey is everlasting. Therefore representing, that life experiences are everlasting because humans continue the pattern.
Emotionally my character has hugely developed from the shy intimidating person she was within Porto. The research has help my character form new groups in which she used to add to the physical language she holds. Although she is still aware of possible dangerous around her, it is in her attempts to explore others, where physically, she will develop. There have been occasions where she tries to be assertive, but this is as far as she is willing to go, unlike others her focus and concern is internal. Her choices to interact are therefore when she fells fit to, which can at times stifle the physicality. Looking back at the character that was, seems strange about the character that is, even from costume. The researching has strangely allowed the birth of the character, forming likes and dislikes whereas the scoring has allowed all characteristics to be put into practice. Scoring has altered the pace of movement which in turn will change the body’s expression, but it is to the process I must give credit to because without that my character would not have been able to respond appropriately. Pisk throws light onto my thoughts, stating “You inhabit your body by your presence in it and by your awareness of it. […] connect yourself with your body and feel for an inner rightness.”
Although altered my character has still been true to who she is and wants to communicate to others and has been shown through emotion and physicality.
Bibliography
Edkins.J, Poststructuralism & International Relations:Bringing the Politics Back in.Lynne Reinner;1999.
Milton.E. Polsky, Lets Improvise: Becoming Creative, Expressive and Spontaneous Through Drama. Applause;1997
Pisk.L, The Actor and His Body.Harrap, London;1975.
character's lines of dialogue.” (Polsky.E. Milton, 1997 p316)
By researching in terms of improvisation and play, it has allowed individuals to explore common similarities and differences within Porto. This in turn, adds new physical vocabulary for characters and to the piece itself. Opportunities have arrived for some, where there are larger risks factors and some key moments were characters develop. As a result, leaving the greater impact on the assemble work emotionally and physically. One could only image how visually breath taking this is and therefore shaping the product is probably more important than the action it’s self. The piece is completely reliant on visuals, hence the urgency for structure and shaping is imperative to the process of the production. As it requires all details whether minor or large to be precise, so that the signs within a piece are successfully delivered to its audience. After all, the receiver of the art is in some way a creator as she or he will decide what the performance is saying emotionally and physically, which is why shaping is crucial to the interpretation of the reader.
Porto started off based on the idea of travel and baggage, how individuals deal with load. Porto has now moved on to represent more than that, it now shows how individuals define who they are through the use of others and their baggage. In this sense Porto doesn’t sit far from the world as we know it, as humans constantly try to find out who they are through oppositions and similarities. Poststructuralism and international relations by Jenny Edkins explains that “Language is a system of interdependent terms in which the value of each term results solely from the simultaneous presence of the others...”(1999 p.24) Although she is concerned with literature, the quote reinforces that individuals exist purely through the existence of others, in other words, we are fragmentations of a whole and cannot exist alone. This is how the community of Porto is built and individuality exits. Similarly, Litz Pisk explains that in terms of air, rhythm, beat, awareness and others you as a performer “[...] make their existence present in your own and widen the possibilities of communication.”(The Actor and His Body 1975 p.12). As a whole, it has a constant reminder of relationships, how they are built, sustained and then broken, for me this reinforces the eternal stay within Porto and that the journey is everlasting. Therefore representing, that life experiences are everlasting because humans continue the pattern.
Emotionally my character has hugely developed from the shy intimidating person she was within Porto. The research has help my character form new groups in which she used to add to the physical language she holds. Although she is still aware of possible dangerous around her, it is in her attempts to explore others, where physically, she will develop. There have been occasions where she tries to be assertive, but this is as far as she is willing to go, unlike others her focus and concern is internal. Her choices to interact are therefore when she fells fit to, which can at times stifle the physicality. Looking back at the character that was, seems strange about the character that is, even from costume. The researching has strangely allowed the birth of the character, forming likes and dislikes whereas the scoring has allowed all characteristics to be put into practice. Scoring has altered the pace of movement which in turn will change the body’s expression, but it is to the process I must give credit to because without that my character would not have been able to respond appropriately. Pisk throws light onto my thoughts, stating “You inhabit your body by your presence in it and by your awareness of it. […] connect yourself with your body and feel for an inner rightness.”
Although altered my character has still been true to who she is and wants to communicate to others and has been shown through emotion and physicality.
Bibliography
Edkins.J, Poststructuralism & International Relations:Bringing the Politics Back in.Lynne Reinner;1999.
Milton.E. Polsky, Lets Improvise: Becoming Creative, Expressive and Spontaneous Through Drama. Applause;1997
Pisk.L, The Actor and His Body.Harrap, London;1975.
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