During the creative process of Four ways to speak out we have been using the RSVP model of devising, the first phase of this model being Research. This phase could also be described as experimentation or play. Oddey writes that “Devised theatre can start from an infinite number of possibilities, such as an idea, image, concept, object, poem, piece of music, or painting, and the precise nature of the end product is unknown.” (Oddey,1994,p7) Not knowing what the creative process would lead us to unnerved me as a performer, as there was no specific goal to aim for. But through the Research phase of devising, I discovered that “Devised Theatre can start from anything.” (Oddey,1994,p1) By breaking down both emotional and physical barriers, and allowing ourselves to experiment both individually and collectively, we have managed to create material from nothing more than our imagination.
An effective technique used within the process is the clap method. This allowed us to try out movements suggested by members of the ensemble without the need to talk, making the process far quicker, as no time was wasted with discussion. By removing the need to talk, we were given the time to consider the meaning behind our movements, and prevent them from being clinical. Oddey writes that “Devised Theatre demands contributions of ideas from the performers in a group, causing both frustration and satisfaction much of the time.” (1994,p68) Through using the clap method, the demand for ideas from each performer was not as strong. We were able to contribute ideas only when we were ready, thus reducing any further pressure.
Through the use of naturalistic improvisation and physical play, the ensemble and individual characters have grown and developed. We have begun to react to other characters, and build relationships with one another both good and bad. By introducing props into the work which belonged to the missing woman, we were able to get a better sense of her personality and lifestyle, and ultimately heighten our responses to her disappearance.
My character has changed considerably throughout the creative process. My original character was best friends with the lady who has disappeared. They had grown up together, but recently only saw each other whenever they had chance. When my character had seen her just days before her disappearance, she had noticed that something was wrong, but was unable to get her to open up about it. My character then held a huge amount of guilt that she had not been able to do more to help her, and became very suspicious of other members of the community. I held this character in mind during the initial improvisation in which the community realise that she has disappeared.
It was when we began working on the flashbacks as to what had happened to her that my character changed. Through working in one of the bar groups, the last time my character saw her was the night that she had been raped in the toilets of the bar. I am no longer her best friend, but I still hold an immense feeling of guilt that I did not do anything to help her once I realise that she has gone. When faced with the broken woman, my reaction is to try and put her back together again. I force her to carry on as though nothing has happened, as I am too scared to deal with what has happened to her, and I would not know how to deal with it. I am then filled with guilt at the discovery of her disappearance, knowing I could have done more, and not ignored what happened through fear.
Before refining the physicality of my character, I first had to strip away my own characteristics through gaining neutrality. Callery writes that “The concept of neutrality embraces both the idea of stripping away our habitual ways of moving and discovering an inner calm where we are relaxed and open to possibilities.” (Callery,2001,p36) This state of neutrality made me alert to my surroundings both physically and mentally. It also made me prepared to undergo whatever was expected of me. I could then build on my character and experiment with how certain emotions made my body react. There are varying emotions that my characters feels throughout the performance, and my body reacts in a different way with each of these emotions. At times within the piece, my body feels quite heavy, and thus my movements are also heavy. It is though the guilt that I hold inside is weighing me down. During the ensemble section when members of the community fall as they begin to realise what Andy did to her, I become very scared, and so my movements are erratic and on edge. I do not want to be near him, and so the weight lifts momentarily as I ensure that I am far away from him. This could also be a fear of being faced with someone I could have stood up to a few months previous.
During the bar scene, which is one of a series of flashbacks, my character is constantly sat down. My movements are quite rhythmic as I am moving along to the music. My interactions with her are quite careless, as I am more concerned that she should pull herself together than I am with what happened to her. A repetitive movement that my character has during this piece is constantly pushing her away and pulling her to sit up straight. It is as though she attempts to confide in me and make me understand that something needs to be done, and I continue to force her to pull herself together and carry on.
Bibliography
Callery,D (2001) Through the body: A practical guide to Physical Theatre London:Routledge
Oddey,A (1994) Devising Theatre: A practical and theoretical handbook London:Routledge
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