Through the process of devising “For Ways To Speak Out” the ensemble have used such devising methods of RSVP, play method, task led improvisation and the use of the “clap method.” Research has been taking place constantly through the process and will continue until the performance reach an end to allow all cast members to collectively gain an understanding of the subject matter of domestic abuse and the many levels it has, so that we can portray these effectively throughout the performances. The “clap method” has been used effectively to create sequences for the community to repeat to emphasise a narrative or emotional stage in the piece. Using this method has enabled the ensemble to participate when they feel necessary and save and discard material quickly. It has eliminated any time that is wasted through talk and as a group produced significant pieces from individual gestures. The play method has been used throughout the entire process of devising “Four ways To Speak Out,” whether the material create has been formulated into the piece or not, each moment of play has been vital in the development of both individual characters and an ensemble. “ You can play with space, with objects, with energy, with each other, without necessarily creating any tangible product” (Callery,C; 2001. p95) It has been these play sessions that have allowed the ensemble to become more comfortable with one another with displaying emotion or experimenting with movement. When the process began the outcome needed to be that we worked effectively as a tight community and some gestures of ensemble may have been faked to allow us to create material, but as the process has proceeded we have all come along way. Each person appears to have more freedom, confidence and trust, which has enable the ensemble to create organic and meaningful work from play sessions. “In the sense of being perpetually open to discovery, is the aim of play” (Callery,C; 2001. P95.) We seem now, to be able to feel each other’s intentions and flow with movements of the group and can sense the direction of the material through the physicalisation and the emotional backbone to the movements.
My own character I feel has changed substantially since we began the process. I had made key decisions about my character when the letters were written to Paul and Royona about the relationship with the woman and the community as a whole. My initial ideas and feelings towards the woman were that my character would be a very false person, who appeared caring and seemingly had a good friendship with the woman, but who realistically just desired to be loved by everyone so put on a gentle and kind facade to the community, to make everyone like her, whilst being slightly jealous of her. This idea stemmed from a “Stepford Wife” ideology along with characters from “The Blonde Charity Mafia.” Looking at these decisions, i believe I made them so as I didn’t have to invest too much emotions into the situation, and if my character faked emotions, then perhaps I could invest less in the woman, because I, myself am a private person with regards to feelings and expression of deep emotions. This changed as soon as we began a play session, in which we discovered the woman had gone. I instantly felt more connected and involved than I had anticipated, or wanted to. I believe this came from allowing my self to become absorbed into the scene and the people around me. I decided not to challenge the emotions and impulses, but allowed them to create and develop a new narrative and personality for my character which I feel has allowed me to produce genuine material in which I have a desire to find the woman. “You need to find a way of to physically become your character; for their actions and reactions to integrate fully into your body and mind. Then you can just relax and play in performance.” (Marshall, L; 2001. P175) This development has lead me into the work I have created because my friendship with the woman feels real, as does the guilt for not helping her, which has influenced the diary entries.
My characters physicality I feel has again developed and changed throughout the process. To begin with I had to strip my own physical habits and stance and build upon a neutral stand as a base to build my characters physicality upon. “This state is of paramount importance in preparing the actor for somatic improvisation in order to allow free flow of creative impulses through the body.” (Callery, D; 2001. p32) My original physicality was formal; straight back with my head held high, walking with smaller steps as though in high heels and a mental image of being a socialite. But as my character began to change and slowly breakdown to a more casual, likeable woman, so did my stance. Although, I have obtained a straight spine with my shoulder pulled back, pulling my pelvis in, to create an open stand, which I feel is approachable for other characters. My character has developed a nervous habit of standing on the outsides of my feet and shifting weight in my legs and feet from left to right, bending my knees and giving an almost gentle rock to my body from side to side. My character at times has also become scattier than my original physicality and poise. As I further embody my character i find myself messing with my hair or hands especially when interacting with characters such as Andy, I feel as though I want to say things to him, so I physically distract myself as a restraint. This nervous twitch has become more apparent throughout the process, regardless of my intention, and can become more intense towards the finale. When standing, my character stands with one knee bent with a hip out, as a casual stand, to embody the “girl next door” character she could be. But when sitting down, i become more “closed off” sitting with my knees up and often with my arms around them, with a curled spine, with a feeling of disbelief of the whole situation and physically expressing the vulnerability and guilt I feel, along with the rest of the community.
Bibliography:
Callery,D (2002) Through the Body London: Routledge
Keefe, J & S Murray (2007) Physical Theatres: A Critical Reader London: Routledge.
Marshall,L (2001) The Body Speaks London:Methuen
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