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]
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