1. As the creative process transgressed from the validation to the performance stage, a new wave of emotions were brought to the community that had not been explored before. We all had retained our own personal relationship with the woman, through the exploration of the body in previous sessions. However, it was not until we all entered the space in the first ensemble part, it was at this point my relationship with other characters really built. I felt there was a sense of vulnerability for all characters on stage; this vulnerability became heightened when we all moved into the Jasmin Vardimon esque movements in the first ensemble piece. As this entered the 'P' stage of the process, there was a greater sense of intent from the ensemble, whereas in the 'V' stage it seemed merely a sequence of movements. This transition was aided by the way in which as characters we were all just as vulnerable as the other, however we decided as a community to pinpoint Daniel because he is intially resisting conforming within the community. Callery suggests;
“Being fully open to other actors is not simply a matter of creating pleasant working relationships. You must be able to work as an ensemble to tell the story moment by moment” (Callery, 2001, p.88)
The 'She's not there' ensemble piece is a particular part that was slightly mechanical in the 'Validation' process of the work. I feel the use of styilsed movement in this part made people focus heavily on getting the movement right, rather than focusing on one's intention in the community. I felt I really engaged with Huma in the community, I really wanted to comfort her and it felt like she was my emotional rock within the piece. It felt as though the burden of the missing woman in the community was too much too carry and we both fell to the floor. The emotional connection that I built up with Huma's character was not alive until the performance stage of the process, it was when I felt she could not cope anymore and we both fell to the floor that I felt the need to really comfort her. It amazed me how I could feel so protective of one particular character, this made my body langauge become more closed as I did not want other people to comfort her.
2. The shift from working in the drama studios to the Arena provided new challenges for us as a company. An initial hurdle was the different spacial dynamic; the studios are rectangular shaped, whereas the arena is long with greath depth. Therefore, we needed to rethink our positioning in parts like the ensemble. I feel that there was an element of selfishness within the group of wanting to be near the front, something I am guilty of myself. After realising this, I volunteered to move to the back of the stage, which I feel created an interesting use of space. It provided scope to work with different levels, for example I used the stairs at the back of the stage, during the 'bedroom flashback' which provided a contrast of levels for the audience. I feel that the technical run provided a few obstacles that we had not considered previously. I think the stopping and starting nature of a techical run was something that was alien to many of us within the group, especially as we had not worked as a company before. I felt like in the technical run my character was almost 'lost' and I was working like a mechanical robot in order to finish the run. This negative energy was no fault but my own as I was feeling frustrated within myself. If I had used that frustration and incorporated that energy into my character's emotional state I would have most likely remained engaged with my character throughout the technical rehearsal. It was the dress rehearsal where I felt as though the piece was finally coming together, what with the lighting, costume and props all in place. This was a moment that provided an abundance of confidence within the group and sparked our emotional intent. I knew from this point, I had to really engage with my character, I needed to develop raw emotion. The way in which we were all given time to explore the space when we first went into the Arena really helped, my character was able to absorb the new surroundings and find its place within the community. Oddey states;
‘How the space is organised and structured for performance is part of the developing process…’ (Oddey, 1996, p.17)
I felt drawn towards the bed for some reason, I used this initial impulse and clutched on to the leg of the bed whilst watching the bar flashback. I felt as if my character was clutching onto the bed in desperation, and almost like they wanted to be cocooned from the burden of the missing woman. For me, it was the authenticity of the props that aided the reality of my character's emotions and I feel like this was something that came across in the final performances. The new space provided an extra layer to the piece; it no longer felt like a rehearsal, it felt like a world we had created. This element of surprise was something that became apparent, during the ‘P’ stage, for example I picked up the wine bottle at one point when I was in the bar in the community. This was something unplanned; it was a natural impulse that my character wanted to do at that moment. Although we were so far on in the RSVP model I also found that I was delving into my character's emotions that I had never explored previously. It was almost as if the new space allowed for more freedom physically, it felt natural to reach out to other members of the community like Jess who I had not interacted with before in the studios.
3. Throughout the three shows I felt that in relation to the RSVP model my character grew emotionally. I was no longer just rehearsing, it was real and the audience presence aided this as I was determined to broadcast the real life message of domestic violence. I feel that the Wednesday matinee lacked energy; this may have been due to the dress rehearsal in the morning. It was almost as if we had all lost our place in the community and were mechanical bodies moving through the space. Looking back, it would have been more effective to have had three to four dress rehearsals on the Tuesday, so that all energy would have been preserved for Wednesday’s two shows. My character took a downfall between the Wednesday matinee and the evening performance, I took it upon myself to sit alone for an hour and regain my sense of focus. After doing this, I felt I went into the evening warm up with a focused mind and body, it was no longer me. I had regained a natural state of readiness that was essential within the physical nature of the process. Lecoq states;
“The face, the hands and the body display feelings, passions and dramatic states, presenting to the observer behaviours patterns natural to the person’s character, behaviour revealed by situations such as anger or fear.” ( Lecoq, 2006, p.16)
This neutrality lapsed formeduring the first ensemble piece. I did a wrong movement for a split second, however quickly recovered into the right ensemble movement. Although, this should not have affected my character’s intent, it made me feel concsious and I became preoccupied with getting the movement right during ensemble parts. In retrospect, I should have just used my ‘mistake’ to conjure up a sense of frustration towards other characters. I feel that from that point on the Wednesday night performance, I was using my brain rather than relying on body memory. This may have come across as artificial to the audience, as I was not portraying the truth of the woman’s plight.
Although this was a barrier, I feel that the final show made me more determined to reach out to members of the audience. It was my last chance to really ‘feel’ my character and I wanted to give it one hundred percent. As a company, we all came to the warm-up fresh and excited for the final performance. I felt that the third show was where I engaged with the flashback scenes wholely, my interactions with other characters were wider. I no longer was thinking about what I should be doing and where I should be, I was acting on impulses. This was something that struck me, as I did not think I would be finding out so much about my character in the ‘P’ stage of the RSVP model. Another aspect, that aided my third performance, was that I used the warm up selfishly; I used the space to really gauge my character’s emotion at each stage. I remember moving to the space, at the end of the street, it was almost as if I did not wan’t anyone to go near me when I was in this area. This was due to the high emotional weight that space has for me during Hayley’s attempt to leave. My selfishness during the warm up activated my emotional intent and I felt part of the woman’s plight of oppressive love, I felt it was my last chance to help her. Marshall states:
“by tuning into the body, performers are able to find the exact and authentic response to the situation. Then they follow it onto unfettered action, enabling real dramatic truth to manifest itself” (Marshall, L. 2002, p. 33)
Bibliography:
Callery, D. (2001): Through The Body: A Practical Guide to Physical Theatre.
London: Neil Hern Books Ltd.
Marshall, L. (2002): The Body Speaks: Performance and Expression. Revised Ed.
London: Palgrave Macmillan Ltd.
Lecoq, J. (2006) Theatre of Movement and gesture: Routledge
Oddey, A. (1994) Devising Theatre - A Practical and Theoretical Handbook. London: Routledge.
Monday, 26 April 2010
Blog Post Three - Rachel O'Connor (0801437)
1. As the creative process turned from the 'V' stage to the 'P' stage of devising, and Four Ways to Speak Out started to come together as one cohesive performance, what were the common themes and issues that were beginning to emerge through the basic fabric of the piece? Despite the individual journeys, what shared experiences tied the community together? Discuss with clear and succinct examples. (400 words)
In the creative journey of Four Ways to Speak Out we have been following theatre director Robert LePage’s RSVP method for devising. His method provides structure to the process of creation in four areas: “Resource (motivation/material), Score (process), Valuaction (selection) and Performance (presentation in progress).” (Dunđerović, A. 2003: p.23) As the Four Ways to Speak Out process developed from the ‘Validation’ to the ‘Performance’ stage, the work created in the sessions started to come together as one cohesive performance. The two phases are described, “Valuaction (or validation) is the process of evaluating, selecting and organising the collected material, and performance is the testing out in practice of the resulting performance draft.” (Allain, P. and Harvie, J. 2006: p.51) During these phases, the material was organised and crafted into one coherent performance. One effective tool which aided the fluency of the piece was the use of the diary entries. These informed the audience of the dates and the events which had taken place and produced a clearer narrative for the piece. In relation to semiotics, without these entries signs may have appeared clustered and it could have been difficult to decipher what is being communicated.
A number of themes also began to emerge during these stages showing development from our stimulus of domestic abuse. These themes ranged from rejection, anger and denial. An example of this was during the various character warm-ups when we discovered the community’s response to the man. It was apparent that some characters were scared and annoyed causing them to move away or push him away aggressively whenever he came near. My character felt disappointed with the man and kept questioning his behaviour as to why he is treating her in that way. On the other hand, it seemed through this exercise that Dawn’s vulnerable character felt sympathy for the man, causing her in the performance to accept his offer when he held out his hand.
As well as the individual journeys throughout the process, there were also a number of shared experiences which brought the community together. In the scene where the woman is packing her suitcase there was a definite sense of sadness and regret amongst the community. Chekhov explains that “Each individual in the scene will have their own response to the situation, but there will be a dominant atmosphere which is experienced as a whole and as an external phenomenon.” (Chekhov, M. 2000: p.87) Chekhov clearly explains how an ensemble can share experiences as well as noticing the individual experiences within this. Another shared experience amongst the ensemble was during the duet between the character’s of Andy and Dan. The community were all observing the action and when the sequence came near to them they moved away. This communicated a sense of togetherness and de-individualisation, a feature common to ensemble work.
2. Critically evaluate the transition of Four Ways to Speak Out as the ensemble moved from the studio into the theatre space. What were the strengths and weaknesses of this phase and process? (500 words)
The transition of Four Ways to Speak Out from the studio to the theatre space was an exciting phase featuring a number of strengths and weaknesses. Firstly, it was challenging working in the new performance space with the actual set in place. The set designer, Paul Brownbill, changed the design at a late stage in the devising process. The original design featured four areas: bedroom, wasteland, bar and street. These were to be separated by walls via chalk marks and as a result restricted the entrances to each area. In the genre of physical theatre, space is an important factor and something which this set design would have minimised. It could also risk the safety of the performers if the space was restricted particularly during the ensemble sequences where a number of lifts and falls were taking place. With this in mind, it seemed appropriate to demolish these restrictive walls to create a more fluid performing space and allow the cast the freedom in movement within this. Callery states that “Organising the space is a key factor, as it will affect the style and design.” (Callery, D. 2001 p.171)
The set caused a number of literal obstacles as well as the issue of generally getting familiar with the new performing environment. The theatre space was also much larger than the rehearsal space so as performers we needed good spatial awareness to avoid clustering in one area and use all the space available. There were moments in the dress rehearsal during the main ensemble sections when this skill was not used effectively, causing Royona to notify the group and make them aware of this issue. Mudford observes that “Any acting-space, whether large or small, whether its stage design is simple or complex, only comes to life when there are actors within it. The style has to create a space or spaces in which the actors feel at ease.” (Mudford, P. 2000 p.138) In my opinion, the piece came to life once in the theatre space when all the scenographic elements were in place. This was perhaps because once the set, lighting and props were in place the appropriate atmosphere for Four Ways to Speak Out was created, aiding characterisation and therefore performance.
As well as the set, the props created another challenge once in the theatre space. In the bar area there were real drinks, meaning care needed to be taken so they did not spill over. The chairs also produced unwanted noise when being moved so the performers again had to be careful not to disrupt the piece when moving them. In the second performance one of the drinks in the bar area got knocked over and produced a slippery surface on the floor. This created a hazard and could have caused injury to one of the performers. Also during the dress rehearsal one of the cups had a hole in and leaked onto Stephanie Dury’s costume in the bar sequence. With these errors in mind, perhaps more practice with using the props would have minimised such accidents. This is something I will remember for future performances.
3. Critically evaluate the growth of the performance over the three shows, with particular emphasis on your own role within the piece. Did the RSVP model continue to apply even at this final stage of the performance piece? Discuss with concrete examples. (600 words)
The group had three shows and three chances as it were to communicate the message behind Four Ways to Speak Out. Oddey states that “The most fundamental requirement for devising theatre is a passion or a desire to say something…” (Oddey, A. 1994: p.42) A cross section of the class including myself felt the final performance was the most effective in communicating our story of domestic violence. From the final show feedback commented positively on the effective emotional level and intensity of the performance causing the performers to really connect with the audience. This response was ideal, however not every show in my opinion provoked this opinion.
There could be a number of reasons why the first or second show was not as effectively communicated as the third from tiredness to nervousness. One aspect which was challenging was maintaining the appropriate emotional level when the company did three performances on the first day. This work required stamina which is a vital tool for the genre of physical theatre. Marshall claims that “Emotions naturally grow and shift, retreat and advance, become inward and then surge outward…trying to maintain a constant state of identical feeling is difficult, since it is not how we actually experience our inner life.” (Marshall, L. 2001: p.63) As an ensemble we wanted our emotions to be realistic rather than artificial and this required focus and concentration throughout the day. The warm-ups were really useful for getting into character and releasing emotion, without such it would have been difficult to perform. The warm-ups were divided into two sections; physical and characterisation.
The character warm-ups were effective in aiding our emotional preparation. We were instructed to react to the surrounding performers which meant discovering our own characters first and then deciding how they would respond. After the warm-up, the directors suggested that we remain focused backstage so that our character will be active when the show begins. During the dress rehearsal, not all the cast remained in character in the wings and instead came out of character and talked to others. This unprofessional attitude encourages others to lose focus which in turn will affect each individual’s performance. Losing concentration backstage also means that the intensity gained in the warm-up becomes insignificant and the performer is returning back to his/her state to before the warm-up had begun.
The RSVP model was still applicable during each performance but in a more subtle way. For example, the resource or stimulus for the performance was the Four Ways to Speak Out campaign, the theme of which always appeared every time the piece was performed. The score includes the small improvisations which appeared in each performance, for example, in the scene where the ensemble falls or catches their partners, the man did not have a set order or number of times to go around the pairs and instead relied on his impulses when being in the moment. This may mean that the man interacts with your pair twice in one performance and none in the next, showing how each show is slightly different through the small improvisations. Finally, the performance is in some way the ‘P’ stage as a whole, showing how this RSVP cycle can not only be considered for the process but also the performance. However, LePage claims that each stage is separate, “The parts are flexible and can be used in any given order.” (Dunđerović, A. 2003: p.23) There was a moment in each show where I focused on Mette Hammerlund’s movements as she was my partner. During the first ensemble section I evaluated her impulses in order to find the appropriate moment to carry out the fall. I wanted to select the correct moment so that the movement looked intentional and produce meaning rather than appearing too choreographed. This shows how one aspect of the RSVP method can be used in the moment of the piece.
The directors, Paul and Royona, delivered feedback to the performers after each show. The feedback included minute changes which would enhance the piece and required the trust from the cast to accept these alterations. At first this seemed a daunting idea to make changes between the shows, however, I soon realised that it was only to aid the performance and therefore became familiar with the feedback process.
Bibliography
Allain, P. and Harvie, J. (2006) The Routledge Companion to Theatre and Performance. Oxon: Routledge.
Callery, D. (2002) Through the Body. London: Routledge.
Chekhov, M. (2000) Michael Chekhov on the Technique of Acting. in A, Hodge. (ed.) Twentieth Century Actor Training. London: Routledge, p 87.
Dunđerović, A (2003) The Cinema of Robert Lepage: The Poetics of Memory. London: Wallflower Press.
Keefe, J. and Murray, S. (2007) Physical Theatres: A Critical Reader. London: Routledge.
Marshall, L. (2001) The Body Speaks. London: Methuen.
Mudford, P. (2000) Making Theatre from Text to Performance. London: The Athlone Press.
Murray, S. and Keefe, J. (2007) Physical Theatres: A Critical Introduction. London: Routledge.
Oddey, A. (1994) Devising Theatre - A Practical and Theoretical Handbook. London: Routledge.
Other Sources:
Halprin, L. (1960) The RSVP Cycle. [online]. [Cited 25/04/10].
Refuge (2009) Speak Out Against Domestic Violence. [online]. [Cited 25/04/10]
In the creative journey of Four Ways to Speak Out we have been following theatre director Robert LePage’s RSVP method for devising. His method provides structure to the process of creation in four areas: “Resource (motivation/material), Score (process), Valuaction (selection) and Performance (presentation in progress).” (Dunđerović, A. 2003: p.23) As the Four Ways to Speak Out process developed from the ‘Validation’ to the ‘Performance’ stage, the work created in the sessions started to come together as one cohesive performance. The two phases are described, “Valuaction (or validation) is the process of evaluating, selecting and organising the collected material, and performance is the testing out in practice of the resulting performance draft.” (Allain, P. and Harvie, J. 2006: p.51) During these phases, the material was organised and crafted into one coherent performance. One effective tool which aided the fluency of the piece was the use of the diary entries. These informed the audience of the dates and the events which had taken place and produced a clearer narrative for the piece. In relation to semiotics, without these entries signs may have appeared clustered and it could have been difficult to decipher what is being communicated.
A number of themes also began to emerge during these stages showing development from our stimulus of domestic abuse. These themes ranged from rejection, anger and denial. An example of this was during the various character warm-ups when we discovered the community’s response to the man. It was apparent that some characters were scared and annoyed causing them to move away or push him away aggressively whenever he came near. My character felt disappointed with the man and kept questioning his behaviour as to why he is treating her in that way. On the other hand, it seemed through this exercise that Dawn’s vulnerable character felt sympathy for the man, causing her in the performance to accept his offer when he held out his hand.
As well as the individual journeys throughout the process, there were also a number of shared experiences which brought the community together. In the scene where the woman is packing her suitcase there was a definite sense of sadness and regret amongst the community. Chekhov explains that “Each individual in the scene will have their own response to the situation, but there will be a dominant atmosphere which is experienced as a whole and as an external phenomenon.” (Chekhov, M. 2000: p.87) Chekhov clearly explains how an ensemble can share experiences as well as noticing the individual experiences within this. Another shared experience amongst the ensemble was during the duet between the character’s of Andy and Dan. The community were all observing the action and when the sequence came near to them they moved away. This communicated a sense of togetherness and de-individualisation, a feature common to ensemble work.
2. Critically evaluate the transition of Four Ways to Speak Out as the ensemble moved from the studio into the theatre space. What were the strengths and weaknesses of this phase and process? (500 words)
The transition of Four Ways to Speak Out from the studio to the theatre space was an exciting phase featuring a number of strengths and weaknesses. Firstly, it was challenging working in the new performance space with the actual set in place. The set designer, Paul Brownbill, changed the design at a late stage in the devising process. The original design featured four areas: bedroom, wasteland, bar and street. These were to be separated by walls via chalk marks and as a result restricted the entrances to each area. In the genre of physical theatre, space is an important factor and something which this set design would have minimised. It could also risk the safety of the performers if the space was restricted particularly during the ensemble sequences where a number of lifts and falls were taking place. With this in mind, it seemed appropriate to demolish these restrictive walls to create a more fluid performing space and allow the cast the freedom in movement within this. Callery states that “Organising the space is a key factor, as it will affect the style and design.” (Callery, D. 2001 p.171)
The set caused a number of literal obstacles as well as the issue of generally getting familiar with the new performing environment. The theatre space was also much larger than the rehearsal space so as performers we needed good spatial awareness to avoid clustering in one area and use all the space available. There were moments in the dress rehearsal during the main ensemble sections when this skill was not used effectively, causing Royona to notify the group and make them aware of this issue. Mudford observes that “Any acting-space, whether large or small, whether its stage design is simple or complex, only comes to life when there are actors within it. The style has to create a space or spaces in which the actors feel at ease.” (Mudford, P. 2000 p.138) In my opinion, the piece came to life once in the theatre space when all the scenographic elements were in place. This was perhaps because once the set, lighting and props were in place the appropriate atmosphere for Four Ways to Speak Out was created, aiding characterisation and therefore performance.
As well as the set, the props created another challenge once in the theatre space. In the bar area there were real drinks, meaning care needed to be taken so they did not spill over. The chairs also produced unwanted noise when being moved so the performers again had to be careful not to disrupt the piece when moving them. In the second performance one of the drinks in the bar area got knocked over and produced a slippery surface on the floor. This created a hazard and could have caused injury to one of the performers. Also during the dress rehearsal one of the cups had a hole in and leaked onto Stephanie Dury’s costume in the bar sequence. With these errors in mind, perhaps more practice with using the props would have minimised such accidents. This is something I will remember for future performances.
3. Critically evaluate the growth of the performance over the three shows, with particular emphasis on your own role within the piece. Did the RSVP model continue to apply even at this final stage of the performance piece? Discuss with concrete examples. (600 words)
The group had three shows and three chances as it were to communicate the message behind Four Ways to Speak Out. Oddey states that “The most fundamental requirement for devising theatre is a passion or a desire to say something…” (Oddey, A. 1994: p.42) A cross section of the class including myself felt the final performance was the most effective in communicating our story of domestic violence. From the final show feedback commented positively on the effective emotional level and intensity of the performance causing the performers to really connect with the audience. This response was ideal, however not every show in my opinion provoked this opinion.
There could be a number of reasons why the first or second show was not as effectively communicated as the third from tiredness to nervousness. One aspect which was challenging was maintaining the appropriate emotional level when the company did three performances on the first day. This work required stamina which is a vital tool for the genre of physical theatre. Marshall claims that “Emotions naturally grow and shift, retreat and advance, become inward and then surge outward…trying to maintain a constant state of identical feeling is difficult, since it is not how we actually experience our inner life.” (Marshall, L. 2001: p.63) As an ensemble we wanted our emotions to be realistic rather than artificial and this required focus and concentration throughout the day. The warm-ups were really useful for getting into character and releasing emotion, without such it would have been difficult to perform. The warm-ups were divided into two sections; physical and characterisation.
The character warm-ups were effective in aiding our emotional preparation. We were instructed to react to the surrounding performers which meant discovering our own characters first and then deciding how they would respond. After the warm-up, the directors suggested that we remain focused backstage so that our character will be active when the show begins. During the dress rehearsal, not all the cast remained in character in the wings and instead came out of character and talked to others. This unprofessional attitude encourages others to lose focus which in turn will affect each individual’s performance. Losing concentration backstage also means that the intensity gained in the warm-up becomes insignificant and the performer is returning back to his/her state to before the warm-up had begun.
The RSVP model was still applicable during each performance but in a more subtle way. For example, the resource or stimulus for the performance was the Four Ways to Speak Out campaign, the theme of which always appeared every time the piece was performed. The score includes the small improvisations which appeared in each performance, for example, in the scene where the ensemble falls or catches their partners, the man did not have a set order or number of times to go around the pairs and instead relied on his impulses when being in the moment. This may mean that the man interacts with your pair twice in one performance and none in the next, showing how each show is slightly different through the small improvisations. Finally, the performance is in some way the ‘P’ stage as a whole, showing how this RSVP cycle can not only be considered for the process but also the performance. However, LePage claims that each stage is separate, “The parts are flexible and can be used in any given order.” (Dunđerović, A. 2003: p.23) There was a moment in each show where I focused on Mette Hammerlund’s movements as she was my partner. During the first ensemble section I evaluated her impulses in order to find the appropriate moment to carry out the fall. I wanted to select the correct moment so that the movement looked intentional and produce meaning rather than appearing too choreographed. This shows how one aspect of the RSVP method can be used in the moment of the piece.
The directors, Paul and Royona, delivered feedback to the performers after each show. The feedback included minute changes which would enhance the piece and required the trust from the cast to accept these alterations. At first this seemed a daunting idea to make changes between the shows, however, I soon realised that it was only to aid the performance and therefore became familiar with the feedback process.
Bibliography
Allain, P. and Harvie, J. (2006) The Routledge Companion to Theatre and Performance. Oxon: Routledge.
Callery, D. (2002) Through the Body. London: Routledge.
Chekhov, M. (2000) Michael Chekhov on the Technique of Acting. in A, Hodge. (ed.) Twentieth Century Actor Training. London: Routledge, p 87.
Dunđerović, A (2003) The Cinema of Robert Lepage: The Poetics of Memory. London: Wallflower Press.
Keefe, J. and Murray, S. (2007) Physical Theatres: A Critical Reader. London: Routledge.
Marshall, L. (2001) The Body Speaks. London: Methuen.
Mudford, P. (2000) Making Theatre from Text to Performance. London: The Athlone Press.
Murray, S. and Keefe, J. (2007) Physical Theatres: A Critical Introduction. London: Routledge.
Oddey, A. (1994) Devising Theatre - A Practical and Theoretical Handbook. London: Routledge.
Other Sources:
Halprin, L. (1960) The RSVP Cycle. [online]. [Cited 25/04/10]
Refuge (2009) Speak Out Against Domestic Violence. [online]. [Cited 25/04/10]
Liz Nuttall - 0812378 Blog assessment task 3
Question 1
As the creative process of Four ways to speak out made the transition from the ‘V’ to the ‘P’ stage of devising, everything suddenly began to feel real. Up until that point in the process, I did not feel as though I had a character, and I did not feel as though I had been on any sort of journey. I was concerned that as a group we would then reach the performance, and I would not have a journey to experience through each show. Once all of the sections of Four ways to speak out were pieced together, and the process turned into a performance, I was suddenly thrown into a journey that I had never imagined, a journey that triggered many different emotions and made me understand who my character really was. Oddey writes that “The significance of the process is that it determines the product, and is a unique experience for every different group of people working together.” (Oddey,1994,P11) This was certainly the case during the creative process of Four ways to speak out, at times I questioned the purpose of the process and became extremely impatient with it, but without it, the performance would not have been what it was.
As we moved to the performance stage of devising, we were encouraged to not only explore our own characters, but the relationships we had with others. After conducting exercises which would allow these characters to emerge from within us, the majority of the group began to feel the same hatred and disgust towards Andy. As the story was merged together and played out in front of our eyes, a protectiveness over this woman who was missing from the community began to evolve, and hence a hatred for the reason of her disappearance. Oddey states that “Central to the devising process is the creation of performance personas who will inhabit the stage world and give rise to its action.” (Oddey, 1994, p92) Andy had developed a persona for his character which in turn had dominated the space, causing other performers to either hate or fear him. The community had realised the severity of the situation, and the abuse she had been subjected to both physically and emotionally. “Emotional abuse is designed to make a person feel beneath their abuser, keep them from realising their own self-worth and control them.”
< http://www.famouspeople.org.uk/10> [cited 26th April 2010] Andy’s character was desperate for control, and attempted to control other members of the community throughout the piece. For example, Dawn during ensemble 2. This then forced the community to stick together and protect each other. Although we all had individual journeys which we experienced during the piece, this overall hate and fear from the group had strengthened our relationship as an ensemble, and weakened our relationship with Andy. We were then tied together through this experience.
Question 2
When the ensemble was moved from the drama studio to the theatre space, the piece finally connected and the story of the missing woman felt real. This move into the actual within which the final performances would take place, a fresh level of excitement ran through the ensemble. We had been working in the drama studio for what felt like forever, and the only vision of this woman’s life was in our imagination. To then be able to work with a real set was extremely exciting for all of us. But the theatre space was far bigger than the rehearsal space, the width of the space was around the same as the drama studio, but the depth of the space was much larger. We had to then consciously use this extra space which we had been given. This posed as a problem during the first day of rehearsals, as performers we had convinced ourselves that we could not be seen at the very back of the space by the audience, and so avoided using it and remained within the area where we were sure we would be visible. Our theory was of course incorrect, and all performers could be clearly seen. The initial stage of the move was to become accustomed with the space and everything in it. “Commanding the stage demands a control of the space. [...] the actor has to ‘read’ the space. But in order to do this s/he has first to really ‘see’ it, to create parallels of attention so that the whole space becomes their field of vision.” (Callery, 2001, p79) The rehearsal space had been an empty space, so moving to the theatre space where there were now objects within it, out awareness had to be far better so as to avoid injury by members of the ensemble walking into or falling over pieces of set. Oddey writes that “Practical problems arise throughout the devising process and preparation for any site-specific product.” (Oddey, 1994, P145) Although Four ways to speak out was not necessarily a site specific piece, we were still faced with problems to overcome practically.
There were several occasions where movement which had been produced in the rehearsal space had to be adapted to the theatre space. For example, the piece of movement myself, Lauren and Naomi had rehearsed was performed on chairs. Once we began rehearsing in the theatre, we were informed that we would have to use bar stools, as they were the only type of chair that would be used within the set. As a result, we had to alter parts of our movement to accommodate for the fact that we were now a lot higher from the ground than we had originally thought. Entrances and exits were the second thing we had to be aware of. All but one or two members of the ensemble remained on stage at all times, so we had to decide where we would enter and exit from and the beginning and the end of the performance. But the bar section of the space was located immediately next to one of the exits, so all members of the ensemble had to be conscious as to not block the exit with any pieces of set once the time came for us all to exit the space.
Question 3
Four ways to speak out grew throughout each performance, with the final performance being the strongest and emitting the most emotion from the ensemble. We had an extremely successful dress rehearsal, and I feel that this success had given us perhaps too much confidence, and as a result we assumed that we could be just as successful if not more once it came to the actual performances. This was not the case, and we had lost a lot of the intention throughout the matinee and the first evening performance. This could have been due to the fact of us performing three times in one day, which had never been done before. We had all become very tired, and this began to affect each of us. I personally was extremely tired, and the times during the piece where I was a spectator to the missing woman’s story, I felt almost disconnected to the action. I struggled to find the emotion and energy within me to react to what I was seeing, and I became almost another member of the audience rather than a member of an ensemble. “Physical Theatre exploits the intensified energy of action on stage to forge a strong link with the spectator.” (Callery, 2001, p27) As the levels of energy were rapidly decreasing, audience members were struggling to make a connection with the ensemble who were looking on when flashbacks from the woman’s life were played out to us. It was also important for us to be able to remain silent or in complete stillness and be able to communicate with our audience as effectively as if we were taking physical risks:
“We cannot have movement without stillness, we cannot have sound or words without silence. Both physical stillness and silence have to sustain a dynamic presence if the words and movement around these are to have any meaning beyond the colloquial.” (Murray and Keefe, 2007, P171)
There were points within the piece where movements had lost their intention. For example, the duet between Andy and Dan where they fight over the suitcase had reached a point where both of them were merely going through the motions, and the actual point behind the confrontation had been lost.
The RSVP process of devising certainly still applied throughout the three performances, we would constantly be realising new things about the issue of domestic abuse, and about our own characters. When talking about The People Show, Oddey writes that, “Every show was a unique devising experience, resulting in an original product which changed with every performance.” (1994,p6) This was also the case with Four ways to speak out, each of us went on a different journey throughout each performance, as each audience will have had a different experience to the last.
There were points within the first two performances where I felt as though my character was fading away, and the true emotions which I felt towards this woman were not being shown to the audience. I then had to work to get these emotions back, and to feel a connection to the story once again in time for the final performance. Void Physical Theatre “Wish to give students the opportunity to grow both physically and emotionally through issue based theatre.”
Bibliography
Callery,D (2001) Through the body: A practical guide to Physical Theatre London:Routledge
Keefe, J & Murray, S (2007) Physical Theatres: An Introduction London: Routledge
Oddey,A (1994) Devising Theatre: A practical and theoretical handbook London:Routledge
Other sources
Domestic abuse (no date) Emotional abuse [online].[cited 26th April 2010]
Void Physical Theatre (no date) Education [online]. [cited 25th April 2010]
As the creative process of Four ways to speak out made the transition from the ‘V’ to the ‘P’ stage of devising, everything suddenly began to feel real. Up until that point in the process, I did not feel as though I had a character, and I did not feel as though I had been on any sort of journey. I was concerned that as a group we would then reach the performance, and I would not have a journey to experience through each show. Once all of the sections of Four ways to speak out were pieced together, and the process turned into a performance, I was suddenly thrown into a journey that I had never imagined, a journey that triggered many different emotions and made me understand who my character really was. Oddey writes that “The significance of the process is that it determines the product, and is a unique experience for every different group of people working together.” (Oddey,1994,P11) This was certainly the case during the creative process of Four ways to speak out, at times I questioned the purpose of the process and became extremely impatient with it, but without it, the performance would not have been what it was.
As we moved to the performance stage of devising, we were encouraged to not only explore our own characters, but the relationships we had with others. After conducting exercises which would allow these characters to emerge from within us, the majority of the group began to feel the same hatred and disgust towards Andy. As the story was merged together and played out in front of our eyes, a protectiveness over this woman who was missing from the community began to evolve, and hence a hatred for the reason of her disappearance. Oddey states that “Central to the devising process is the creation of performance personas who will inhabit the stage world and give rise to its action.” (Oddey, 1994, p92) Andy had developed a persona for his character which in turn had dominated the space, causing other performers to either hate or fear him. The community had realised the severity of the situation, and the abuse she had been subjected to both physically and emotionally. “Emotional abuse is designed to make a person feel beneath their abuser, keep them from realising their own self-worth and control them.”
< http://www.famouspeople.org.uk/10> [cited 26th April 2010] Andy’s character was desperate for control, and attempted to control other members of the community throughout the piece. For example, Dawn during ensemble 2. This then forced the community to stick together and protect each other. Although we all had individual journeys which we experienced during the piece, this overall hate and fear from the group had strengthened our relationship as an ensemble, and weakened our relationship with Andy. We were then tied together through this experience.
Question 2
When the ensemble was moved from the drama studio to the theatre space, the piece finally connected and the story of the missing woman felt real. This move into the actual within which the final performances would take place, a fresh level of excitement ran through the ensemble. We had been working in the drama studio for what felt like forever, and the only vision of this woman’s life was in our imagination. To then be able to work with a real set was extremely exciting for all of us. But the theatre space was far bigger than the rehearsal space, the width of the space was around the same as the drama studio, but the depth of the space was much larger. We had to then consciously use this extra space which we had been given. This posed as a problem during the first day of rehearsals, as performers we had convinced ourselves that we could not be seen at the very back of the space by the audience, and so avoided using it and remained within the area where we were sure we would be visible. Our theory was of course incorrect, and all performers could be clearly seen. The initial stage of the move was to become accustomed with the space and everything in it. “Commanding the stage demands a control of the space. [...] the actor has to ‘read’ the space. But in order to do this s/he has first to really ‘see’ it, to create parallels of attention so that the whole space becomes their field of vision.” (Callery, 2001, p79) The rehearsal space had been an empty space, so moving to the theatre space where there were now objects within it, out awareness had to be far better so as to avoid injury by members of the ensemble walking into or falling over pieces of set. Oddey writes that “Practical problems arise throughout the devising process and preparation for any site-specific product.” (Oddey, 1994, P145) Although Four ways to speak out was not necessarily a site specific piece, we were still faced with problems to overcome practically.
There were several occasions where movement which had been produced in the rehearsal space had to be adapted to the theatre space. For example, the piece of movement myself, Lauren and Naomi had rehearsed was performed on chairs. Once we began rehearsing in the theatre, we were informed that we would have to use bar stools, as they were the only type of chair that would be used within the set. As a result, we had to alter parts of our movement to accommodate for the fact that we were now a lot higher from the ground than we had originally thought. Entrances and exits were the second thing we had to be aware of. All but one or two members of the ensemble remained on stage at all times, so we had to decide where we would enter and exit from and the beginning and the end of the performance. But the bar section of the space was located immediately next to one of the exits, so all members of the ensemble had to be conscious as to not block the exit with any pieces of set once the time came for us all to exit the space.
Question 3
Four ways to speak out grew throughout each performance, with the final performance being the strongest and emitting the most emotion from the ensemble. We had an extremely successful dress rehearsal, and I feel that this success had given us perhaps too much confidence, and as a result we assumed that we could be just as successful if not more once it came to the actual performances. This was not the case, and we had lost a lot of the intention throughout the matinee and the first evening performance. This could have been due to the fact of us performing three times in one day, which had never been done before. We had all become very tired, and this began to affect each of us. I personally was extremely tired, and the times during the piece where I was a spectator to the missing woman’s story, I felt almost disconnected to the action. I struggled to find the emotion and energy within me to react to what I was seeing, and I became almost another member of the audience rather than a member of an ensemble. “Physical Theatre exploits the intensified energy of action on stage to forge a strong link with the spectator.” (Callery, 2001, p27) As the levels of energy were rapidly decreasing, audience members were struggling to make a connection with the ensemble who were looking on when flashbacks from the woman’s life were played out to us. It was also important for us to be able to remain silent or in complete stillness and be able to communicate with our audience as effectively as if we were taking physical risks:
“We cannot have movement without stillness, we cannot have sound or words without silence. Both physical stillness and silence have to sustain a dynamic presence if the words and movement around these are to have any meaning beyond the colloquial.” (Murray and Keefe, 2007, P171)
There were points within the piece where movements had lost their intention. For example, the duet between Andy and Dan where they fight over the suitcase had reached a point where both of them were merely going through the motions, and the actual point behind the confrontation had been lost.
The RSVP process of devising certainly still applied throughout the three performances, we would constantly be realising new things about the issue of domestic abuse, and about our own characters. When talking about The People Show, Oddey writes that, “Every show was a unique devising experience, resulting in an original product which changed with every performance.” (1994,p6) This was also the case with Four ways to speak out, each of us went on a different journey throughout each performance, as each audience will have had a different experience to the last.
There were points within the first two performances where I felt as though my character was fading away, and the true emotions which I felt towards this woman were not being shown to the audience. I then had to work to get these emotions back, and to feel a connection to the story once again in time for the final performance. Void Physical Theatre “Wish to give students the opportunity to grow both physically and emotionally through issue based theatre.”
Bibliography
Callery,D (2001) Through the body: A practical guide to Physical Theatre London:Routledge
Keefe, J & Murray, S (2007) Physical Theatres: An Introduction London: Routledge
Oddey,A (1994) Devising Theatre: A practical and theoretical handbook London:Routledge
Other sources
Domestic abuse (no date) Emotional abuse [online].[cited 26th April 2010]
Void Physical Theatre (no date) Education [online]. [cited 25th April 2010]
Sunday, 25 April 2010
Sarah Foster - 0809849
As Four Ways to Speak Out came from the Validation stage to the performance stage of devising, the overall theme of the piece was vulnerability,mystery,domestic violence and how oppressive love can be as dangerous as physical abuse, “Domestic violence and abuse can happen to anyone, yet the problem is often overlooked, excused, or denied. This is especially true when the abuse is psychological, rather than physical. Emotional abuse is often minimized, yet it can leave deep and lasting scars.” (http://helpguide.org/mental/domestic_violence_abuse_types_signs_causes_effects.htm) and this bled into the basic fabric of the piece.
This theme of oppressive love became an overruling theme, and this was portrayed through the diary entries as well as the physical action. In particular the last entry “I couldn’t breathe in his embraces, I couldn’t move, and I couldn’t feel a thing for him,or me, or us.” ( Mitra,R. Diary entry 3) This final entry helped to enforce this theme of oppressive love through to the finale where Andy became caged by his own actions of love towards the woman. This technique also helped to enforce the pieces concept that not all domestic abuse is physical, and although our woman suffered terrible abuse, it was the overwhelming love that finally pushed her to leave the man. This theme throughout the piece I feel helped the group tie together because the entire of the piece felt like a battle between head and heart for the character of the woman, “The funny thing is that despite all of this I loved him. Even though I spent many a night in tears I never considered leaving him.” ( http://www.experienceproject.com/stories/Am-A-Victim-Of-Domestic-Violence/980557) There seemed to be a constant “Should I stay or should I go” mind set, and this conflict between your emotions and your brain is one that all the cast could relate to in one way or another. Another theme which helped the cast bond together I feel is that the woman left of her own accord and she wasn’t killed due to the violence. It left the piece with a positive message that escape is possible and this strong message which went against the stereotypical portrayal of domestic abuse allowed us to connect to the woman in a new and refreshing way and it enabled our characters to be stronger individually and as a unit. This strength was shown along the vulnerability of each cast member during ensemble two, which really allowed the entire cast to embrace the emotion of the piece, tying us together further. Personally I tried to pull upon my emotional memory, using memories where I had felt betrayed or misguided, to link to how my character felt she had been treated by not only Andy’s character but the woman herself. The idea of each individual needing to rely on someone else for support is an emotion which is easily identifiable in both cast members and the audience and this theme of community ran through the fabric of the piece to give the overall sense of loss at the disappearance of the woman.
With the movement from the studios to the Arena theatre space, it bought challenges and opportunities for the piece and the cast. As a cast it was similar to entering a new “street where the woman had lived” and as characters and actors we had to re- familiarize ourselves with the space as a whole before we could begin to create our show in the new area. “Commanding the stage demands a control of the space. […] the actor has to read the space. But in order to do this s/he has first to really ‘see’ it, to create parallels of attention so that the whole space becomes their field of vision.” (Callery, D. 2001 p.79) As an ensemble the first problem we encountered came simply from the dynamics of the space. The theatre was much deeper than the space we had been using in the studios, and about the same width. There were many adjustments that needed to be made in order to fill the space for the entire piece, but most of these were done throughout the piece its self and the cast being aware of the space that they had to work in. As well as the size and shape of the space, a weakness lay in the scenography that had been created within the space. We had not worked with the real bed or bar before and certain movements had to change within group work. For example the “funny bar group” had to alter a jump onto the bar into a twirl, due to the height of the real bar on set. But changes like this showed a strength of the performers to adapt their movements swiftly. This strength was also demonstrated through ensemble two, where it became apparent the couples would be much closer together than in the studios and had to be reconfigured, but I feel this happened smoothly overall once members had removed the idea that you only get seen when you’re standing at the front of the stage; this became an issue in ensemble one, when the street needed to be long and slim and not a large bunch of people, in order to represent the right image of a road. This also became a small problem for the cast as a whole. We all appeared to have developed a selfish outlook on spacial awareness when performing, but when we realised that the stage was lit right to the back of the stage and you could be seen at all angles of the stage, we began to spread out and fill the space much better. An example of this for me personally is during the bedroom scene, when I sat at the back of the bed by the post and continued to interact with Dawn and Emma whilst they were trying to read the diary, and by the end of the scene I’d allowed them to look through it with me, as I felt I had developed a bond with those two people in particular during the piece. And although I had positioned myself at the back of the stage I still felt as involved in the action than I had through the entire piece. Another difference from moving from the studios to the theatre was using the real life props, from cigarettes to clothes, drinking shots to three diaries. Transitioning to using the real props, liquids in particular made the entire cast more aware of certain movements. For example being careful during the second ensemble with four pint glasses of apple juice on the side of the stage. As well as the overall movement of the piece from studio to theatre, as cast members a strength lay in our ability to relate back to our characters. As the warm up became more intense and character based, although we were in a new environment, we explored it and were still able to feel the space and each other within it, and the ensemble counting and stop/start took longer to accomplish in the beginning, but we achieved it by the third show particularly well.
Over the three performances in the theatre I feel as though the piece grew from strength to strength, with the final show being the most intention driven and energetic of all. For me personally I feel as though my character developed a lot quicker and more intensely within the theatre space than it had within the studio. I feel this is because I was able to use the set and felt apart of the life of the woman. This then allowed me to feel much more of the community than I ever had before, reacting genuinely to the action going on around me and to the emotions of others. An example of how my character developed up to the final performance was during Hayley’s attempt to leave. Through out most runs and rehearsals I had felt connected to this scene and Emma Gill’s role to me at this moment, but it wasn’t until the final show that I really allowed Emma to console me in my grief for the woman. Along with the lyrics in the “and then you kissed me” and the effective movements I allowed myself to be completely lost in the action that was taking place and found myself fully in the mind set of my character witnessing what she could have potentially helped to stop. I was over come by a sense of guilt and helplessness and it was this emotion I gained from the interaction with Emma that fueled my intention throughout the second ensemble, and created the most, i feel, dynamic second ensemble of all three shows. I believe this is true for most of the cast in the final run of the show. Emotions were running high and we were all connecting not just to each other but the environment and space we’d all come to feel like home and we were “ constantly experimenting with the performance environment” (http://www.motionhouse.co.uk/about.htm) This secure environment allowed us to try slightly new things within each show creating a different emotion, for example the suitcase fight between Andy and Dan. The intention had seemingly been lost from the beginning of the RSVP model and throughout the rehearsals and felt as though they were going through the motions, until the final two performances where not only did Dan and Andy really connect with each other and their intention behind wanting the suitcase, but also the rest of the performers really involved themselves in the action and responded realistically to the fight. Dan’s vindictive side was shown and Andy’s distress at the revealing of the items.
The RVSP model I feel still applied even during the final stages of the performance piece, because even right up until the final showing as a cast we were still learning and researching about all the different aspects that come along with domestic violence, as well as how the woman had been affected by the actions of not only her partner but her friends in the neighborhood. In turn this allowed us to continue to learn about our own character right through the process and I felt as though my character never stopped growing. This is because when moving from the studio to the Arena we had to re validate movements and intentions behind movements and clarify their importance and message within the story of the woman. The scenography of the space also enabled us to keep validating the piece until we reached the “P” to create the most successful performance we could.
As an ensemble, looking at the three shows it is clear to me that we may have peaked to early during the second full technical dress run, with this run going well with a high energy and level of emotion by the first show we were already feeling tired and by the second performance totally drained. We pushed through to try and maintain the energy and precision throughout the shows, but it was evident that after a long rest the final performance was both emotionally charged and exciting. We all felt more alive and with the knowledge of it being the last time we would ever perform Four Ways To Speak Out, we all pushed it to our limits and gave it all we had, to give the best of the three performances. With each show having different levels of excitement, precision and emotion it is clear that each show was different “it’s alive, it changes every night” (Huxley & Witts ,1996,p239) and potentially had a different effect on the audience, this is a common theme of physical theatre and the nature of the work, but overall I feel as though the performance had a positive message to the audience over all three shows and hopefully expressed the strengths and courage in sufferers to walk way from it all.
Bibliography:
Callery, D. (2001) Through the Body: A practical guide to Physical Theatre. Routledge. New York.
Huxley, M & Witts, N. (1996) The Twentieth-Century Performance Reader. Routledge. USA.
Mitra, R. Diary entry Number Three. (2010)
Domestic Abuse Help. [ Accessed at 24th April 2010] http://helpguide.org/mental/domestic_violence_abuse_types_signs_causes_effects.htm.
Motionhouse dance theatre. [Accessed 24th April 2010] (http://www.motionhouse.co.uk/about.htm
Victims of Domestic violence. [Accessed on 24th April 2010] ( http://www.experienceproject.com/stories/Am-A-Victim-Of-Domestic-Violence/980557
This theme of oppressive love became an overruling theme, and this was portrayed through the diary entries as well as the physical action. In particular the last entry “I couldn’t breathe in his embraces, I couldn’t move, and I couldn’t feel a thing for him,or me, or us.” ( Mitra,R. Diary entry 3) This final entry helped to enforce this theme of oppressive love through to the finale where Andy became caged by his own actions of love towards the woman. This technique also helped to enforce the pieces concept that not all domestic abuse is physical, and although our woman suffered terrible abuse, it was the overwhelming love that finally pushed her to leave the man. This theme throughout the piece I feel helped the group tie together because the entire of the piece felt like a battle between head and heart for the character of the woman, “The funny thing is that despite all of this I loved him. Even though I spent many a night in tears I never considered leaving him.” ( http://www.experienceproject.com/stories/Am-A-Victim-Of-Domestic-Violence/980557) There seemed to be a constant “Should I stay or should I go” mind set, and this conflict between your emotions and your brain is one that all the cast could relate to in one way or another. Another theme which helped the cast bond together I feel is that the woman left of her own accord and she wasn’t killed due to the violence. It left the piece with a positive message that escape is possible and this strong message which went against the stereotypical portrayal of domestic abuse allowed us to connect to the woman in a new and refreshing way and it enabled our characters to be stronger individually and as a unit. This strength was shown along the vulnerability of each cast member during ensemble two, which really allowed the entire cast to embrace the emotion of the piece, tying us together further. Personally I tried to pull upon my emotional memory, using memories where I had felt betrayed or misguided, to link to how my character felt she had been treated by not only Andy’s character but the woman herself. The idea of each individual needing to rely on someone else for support is an emotion which is easily identifiable in both cast members and the audience and this theme of community ran through the fabric of the piece to give the overall sense of loss at the disappearance of the woman.
With the movement from the studios to the Arena theatre space, it bought challenges and opportunities for the piece and the cast. As a cast it was similar to entering a new “street where the woman had lived” and as characters and actors we had to re- familiarize ourselves with the space as a whole before we could begin to create our show in the new area. “Commanding the stage demands a control of the space. […] the actor has to read the space. But in order to do this s/he has first to really ‘see’ it, to create parallels of attention so that the whole space becomes their field of vision.” (Callery, D. 2001 p.79) As an ensemble the first problem we encountered came simply from the dynamics of the space. The theatre was much deeper than the space we had been using in the studios, and about the same width. There were many adjustments that needed to be made in order to fill the space for the entire piece, but most of these were done throughout the piece its self and the cast being aware of the space that they had to work in. As well as the size and shape of the space, a weakness lay in the scenography that had been created within the space. We had not worked with the real bed or bar before and certain movements had to change within group work. For example the “funny bar group” had to alter a jump onto the bar into a twirl, due to the height of the real bar on set. But changes like this showed a strength of the performers to adapt their movements swiftly. This strength was also demonstrated through ensemble two, where it became apparent the couples would be much closer together than in the studios and had to be reconfigured, but I feel this happened smoothly overall once members had removed the idea that you only get seen when you’re standing at the front of the stage; this became an issue in ensemble one, when the street needed to be long and slim and not a large bunch of people, in order to represent the right image of a road. This also became a small problem for the cast as a whole. We all appeared to have developed a selfish outlook on spacial awareness when performing, but when we realised that the stage was lit right to the back of the stage and you could be seen at all angles of the stage, we began to spread out and fill the space much better. An example of this for me personally is during the bedroom scene, when I sat at the back of the bed by the post and continued to interact with Dawn and Emma whilst they were trying to read the diary, and by the end of the scene I’d allowed them to look through it with me, as I felt I had developed a bond with those two people in particular during the piece. And although I had positioned myself at the back of the stage I still felt as involved in the action than I had through the entire piece. Another difference from moving from the studios to the theatre was using the real life props, from cigarettes to clothes, drinking shots to three diaries. Transitioning to using the real props, liquids in particular made the entire cast more aware of certain movements. For example being careful during the second ensemble with four pint glasses of apple juice on the side of the stage. As well as the overall movement of the piece from studio to theatre, as cast members a strength lay in our ability to relate back to our characters. As the warm up became more intense and character based, although we were in a new environment, we explored it and were still able to feel the space and each other within it, and the ensemble counting and stop/start took longer to accomplish in the beginning, but we achieved it by the third show particularly well.
Over the three performances in the theatre I feel as though the piece grew from strength to strength, with the final show being the most intention driven and energetic of all. For me personally I feel as though my character developed a lot quicker and more intensely within the theatre space than it had within the studio. I feel this is because I was able to use the set and felt apart of the life of the woman. This then allowed me to feel much more of the community than I ever had before, reacting genuinely to the action going on around me and to the emotions of others. An example of how my character developed up to the final performance was during Hayley’s attempt to leave. Through out most runs and rehearsals I had felt connected to this scene and Emma Gill’s role to me at this moment, but it wasn’t until the final show that I really allowed Emma to console me in my grief for the woman. Along with the lyrics in the “and then you kissed me” and the effective movements I allowed myself to be completely lost in the action that was taking place and found myself fully in the mind set of my character witnessing what she could have potentially helped to stop. I was over come by a sense of guilt and helplessness and it was this emotion I gained from the interaction with Emma that fueled my intention throughout the second ensemble, and created the most, i feel, dynamic second ensemble of all three shows. I believe this is true for most of the cast in the final run of the show. Emotions were running high and we were all connecting not just to each other but the environment and space we’d all come to feel like home and we were “ constantly experimenting with the performance environment” (http://www.motionhouse.co.uk/about.htm) This secure environment allowed us to try slightly new things within each show creating a different emotion, for example the suitcase fight between Andy and Dan. The intention had seemingly been lost from the beginning of the RSVP model and throughout the rehearsals and felt as though they were going through the motions, until the final two performances where not only did Dan and Andy really connect with each other and their intention behind wanting the suitcase, but also the rest of the performers really involved themselves in the action and responded realistically to the fight. Dan’s vindictive side was shown and Andy’s distress at the revealing of the items.
The RVSP model I feel still applied even during the final stages of the performance piece, because even right up until the final showing as a cast we were still learning and researching about all the different aspects that come along with domestic violence, as well as how the woman had been affected by the actions of not only her partner but her friends in the neighborhood. In turn this allowed us to continue to learn about our own character right through the process and I felt as though my character never stopped growing. This is because when moving from the studio to the Arena we had to re validate movements and intentions behind movements and clarify their importance and message within the story of the woman. The scenography of the space also enabled us to keep validating the piece until we reached the “P” to create the most successful performance we could.
As an ensemble, looking at the three shows it is clear to me that we may have peaked to early during the second full technical dress run, with this run going well with a high energy and level of emotion by the first show we were already feeling tired and by the second performance totally drained. We pushed through to try and maintain the energy and precision throughout the shows, but it was evident that after a long rest the final performance was both emotionally charged and exciting. We all felt more alive and with the knowledge of it being the last time we would ever perform Four Ways To Speak Out, we all pushed it to our limits and gave it all we had, to give the best of the three performances. With each show having different levels of excitement, precision and emotion it is clear that each show was different “it’s alive, it changes every night” (Huxley & Witts ,1996,p239) and potentially had a different effect on the audience, this is a common theme of physical theatre and the nature of the work, but overall I feel as though the performance had a positive message to the audience over all three shows and hopefully expressed the strengths and courage in sufferers to walk way from it all.
Bibliography:
Callery, D. (2001) Through the Body: A practical guide to Physical Theatre. Routledge. New York.
Huxley, M & Witts, N. (1996) The Twentieth-Century Performance Reader. Routledge. USA.
Mitra, R. Diary entry Number Three. (2010)
Domestic Abuse Help. [ Accessed at 24th April 2010] http://helpguide.org/mental/domestic_violence_abuse_types_signs_causes_effects.htm.
Motionhouse dance theatre. [Accessed 24th April 2010] (http://www.motionhouse.co.uk/about.htm
Victims of Domestic violence. [Accessed on 24th April 2010] ( http://www.experienceproject.com/stories/Am-A-Victim-Of-Domestic-Violence/980557