Question 1:
During the initial stages of Porto, the group turned their focus towards the use of Halprin's sculpt RSVP. Halloran’s method for devising breaks down into four stages. The purpose of his model is to assist with devising of theatre. The concept of his method can be applied to the devising of any theatre genre.
R= Research/Resource
S= Score
V=Validate
P=Performance
Throughout the piece the company have played special attention to the first two elements of Halprin’s method. Before beginning the devising process of any piece of theatre, one must perform and gather research, in order to aid the process of the performance and to gain relevant knowledge of the genre they are aiming to devise around. This method can be applied to any piece of academic studies.
When the idea of Porto was introduced to the company, many were unaware of what the definition of the word Porto meant. The group was then advised to go away and conduct independent research to document and share with the rest of the group the following week.
The Score element of Halprin’s method focuses on structuring the gathered research and resources to assist with the sculpting of the piece. The company used ‘Open Play’ to further gain new knowledge and to begin the devising of material.
Using the method of ‘Open Play’ aids the performer, “not only improve themselves as performers but also make their own work.” (Callery, D. 2001, p.63)
Question 2:
Now that the Devising stage of Porto is now complete. The Scoring element of the method appears more adamant, as all the pieces are now devised and structured. Although there may be necessary points where the cast re-visit some point and re-work them.
Even though the piece is devised, the Score element still remains consistent throughout. Taking the ‘Open Play’ technique into consideration, during the devising process the company chose to break up into groups relevant to the objects they were carrying in the bags. Each group used ‘Open Play’ initially to create stimulus for devising material. Even though the groups where not communicating with other groups, the material each grouping created Connected perfectly with the devised material of all the other groups and sub-groups.
As an out side eye looking in on Porto from the first stages of the piece I have always taken note of the emotional presence of the characters within and how each character interacts with the other character. To begin with many of the characters seemed afraid to communicate and interrelate with other characters. As time progressed and the company began to understand the purpose of their characters presence in Porto relationship became to emerge creating un-spoken narrative.
‘When everything comes from the actors, what happens in performance is determined by what happens in rehearsal, and accidental discoveries are a part of that.’ (Callery, D, 2001, pg164)
The above quote makes reference again to the ’Open Play’ session and the concept of devising, touching upon the accidental discoveries that can often play a major role to the devising of a piece.
Question 3:
I am incapable of answering this question as I do no longer have a character with Porto.
Bibliography
Callery, D. (2001) Through the Body, A Practical Guide to Physical Theatre. London, Routledge
Tuesday, 31 March 2009
Blog 3
1)The 'research' segment of the RSVP devising model represents the exploration of initial ideas which may be expanded on during future phases. It is the stage in which performers are given the chance to establish a sense of character and explore the possibilities of initial physical connections with others. In order to do this we have been able to research through participating in numerous devising techniques such as improvisational play sessions which have evolved from the introduction of the concept of Porto, with the themes of journey and discovering what is within the 'liminal' space of Porto. Initial interactions and the growth of relationships and characters were made, always keeping in mind our character's aims and individual items inside our bags which accompany us on our journey's through Porto, which in many cases are the driving force to why some characters react in the ways they do.
The 'score' stage however has enabled us to expand on the initial relationships that emerged during the 'resource/research' stage by refining and adjusting them and at times removing particular sections that are either not so effective or have now become irrelevant based on the progression of the characters and relationships that have been built upon.
2) As we have entered the 'score' stage of devising Porto, clear relationships and hints of narrative are beginning to emerge but have not yet been placed in a linear structure. The beginning of the performance has everyone in Porto repeating the same gestures and actions which suggests the common ground and unity among the ensemble with the exclusion of Blake and Nicola's characters. 'The liminal state is characterised by ambiguity, openness, and indeterminacy. One's sense of identity dissolves to some extent, bringing about disorientation' [http://en.wikipedia.org/wiki/Liminality] This is somewhat explored through these 2 character's that intrigue the rest of the group with their unwillingness to be part of the community and this is where sub-groups and other relationships emerge with the people these 2 character's begin to confide and connect with.
The photograph section explores how each person within the group has the same item contributing to this idea of a community within a community, but this is soon broken up when characters begin exploring whether or not the individuals wish to share there photo's among the group as well as breaking out of a repetitive sequence and creating new relationships.
As we enter the 'validate' stage these above relationships will become clearer and hopefully each extract will fit together like a jigsaw, contributing to aiding to a sense of clarity based on narrative not necessarily from an audience's perspective, but for the performers and characters involved.
3) Throughout the 'resource' and 'score' stages my character has continued to progress and I have been able peel away layers of my character somewhat similar to the peeling away of an onion. 'The physical performer has an enhanced awareness of their own body as a conduit of meaning and expression' (D, Callery, 2001, p27) Having said that I have become more aware of the expression and physicality of my character through the stages and believe my character has grown stronger and begun to open up more by engaging in more physical contact and taking risks with the only person she really connects with, Sarah.
Through the 'resource' stage of devising, the layer of my character that was explored was the mischievous side. Through the 'scoring' stage, my character has progressed from this negative personality trait by becoming more vulnerable and protective over her item as it begins to be interfered with, especially during the final emsemble piece when she is trapped by the rest of the community and is attempting to escape the confrontation. I believe that my character is not purposely invading every one's privacy by taking photo's but is in fact stuck in a routine in which she is so used to. This may have possibly occured before entering Porto and her natural instinct is to photograph these awkward and intimate moments that occur within the space.
Bibliography
Callery, D (2001). Through The Body - A Practical Guide to Physical Theatre. k: Nick Hern Books.
Other Sources
Anon. Liminality. Available: http://en.wikipedia.org/wiki/Liminality. Last accessed 31 March 2009
The 'score' stage however has enabled us to expand on the initial relationships that emerged during the 'resource/research' stage by refining and adjusting them and at times removing particular sections that are either not so effective or have now become irrelevant based on the progression of the characters and relationships that have been built upon.
2) As we have entered the 'score' stage of devising Porto, clear relationships and hints of narrative are beginning to emerge but have not yet been placed in a linear structure. The beginning of the performance has everyone in Porto repeating the same gestures and actions which suggests the common ground and unity among the ensemble with the exclusion of Blake and Nicola's characters. 'The liminal state is characterised by ambiguity, openness, and indeterminacy. One's sense of identity dissolves to some extent, bringing about disorientation' [http://en.wikipedia.org/wiki/Liminality] This is somewhat explored through these 2 character's that intrigue the rest of the group with their unwillingness to be part of the community and this is where sub-groups and other relationships emerge with the people these 2 character's begin to confide and connect with.
The photograph section explores how each person within the group has the same item contributing to this idea of a community within a community, but this is soon broken up when characters begin exploring whether or not the individuals wish to share there photo's among the group as well as breaking out of a repetitive sequence and creating new relationships.
As we enter the 'validate' stage these above relationships will become clearer and hopefully each extract will fit together like a jigsaw, contributing to aiding to a sense of clarity based on narrative not necessarily from an audience's perspective, but for the performers and characters involved.
3) Throughout the 'resource' and 'score' stages my character has continued to progress and I have been able peel away layers of my character somewhat similar to the peeling away of an onion. 'The physical performer has an enhanced awareness of their own body as a conduit of meaning and expression' (D, Callery, 2001, p27) Having said that I have become more aware of the expression and physicality of my character through the stages and believe my character has grown stronger and begun to open up more by engaging in more physical contact and taking risks with the only person she really connects with, Sarah.
Through the 'resource' stage of devising, the layer of my character that was explored was the mischievous side. Through the 'scoring' stage, my character has progressed from this negative personality trait by becoming more vulnerable and protective over her item as it begins to be interfered with, especially during the final emsemble piece when she is trapped by the rest of the community and is attempting to escape the confrontation. I believe that my character is not purposely invading every one's privacy by taking photo's but is in fact stuck in a routine in which she is so used to. This may have possibly occured before entering Porto and her natural instinct is to photograph these awkward and intimate moments that occur within the space.
Bibliography
Callery, D (2001). Through The Body - A Practical Guide to Physical Theatre. k: Nick Hern Books.
Other Sources
Anon. Liminality. Available: http://en.wikipedia.org/wiki/Liminality. Last accessed 31 March 2009
Motion House Dance Theatre - Zara Bailey
This image shows the contrast of work Motion House do. They don’t just perform in theatre spaces, but outside.
This picture is striking!! Look how there bodies intertwine. The use of close contact, however I do notice that her face and body are facing away from him, suggesting she’s not comfortable and wants to get away. On the other hand the male is clinged on her body tight, trying to get as close to her as possible. The head is also in contact with her body, one of the most heaviest and sensitive part of our body, yet he doesn’t care and places his weight on her.
This image is phenomenal. The woman is carrying the man. To have seen this years ago, it would have caused an upset and shock. It is not seen as feminine for a woman to carry a man. Yet in this picture there is; she is seen as dominant and strong.
Here are some pictures of Motion House Dance Theatre in action.
They are truly awesome; I went to watch them when studying GCSE Dance and never forgot them. The physical images and movements shown are ones that are still clear in my memory traces now, 6/ 7 years later. I remember a sequence they did with white drapes. The set was simple but effective. The stage was bare with a box like pole and white pieces of materials flowing to the floor. The whole section was performed using the drapes as a means of expression of being unable to escape. If a company has the skills and performance to create a response such as mine, then they are justly worth exploring. So check them out! Here is their website… http://www.motionhouse.co.uk/
Below are some pictures of their work and if you get a chance to see them I definitely would. If anyone finds any future performances near by, let us know.
Thanks
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