1. Throughout the devising process of, Porto we have used various techniques, which we are now starting to implement into the actual performance. One of those is the idea of ‘play’, where by we just experiment with different characters and react to what’s going on in that space and acting on our impulses, but not like before where we were ourselves but now as our characters. And there’s not a set mise-en-scene, so the action you create naturally captures that location/setting, “We don’t need a stage… Just a space” (Push Physical Theatre).
I think this particular technique is the most effective because it allows you to explore new avenues that you wouldn’t have necessarily thought of or even felt as if anything could emerge. It allowed for more improvised work, as I formed new bonds as such that I think could be developed further later on.
I prefer this way of working because it allows me to explore new relationships and evaluate others which I felt that I had to form a bond with. There was a part in the play between me, Dan and Richard and I felt it was quite childish and sweet but also quite funny as well, I felt like they were my brothers and I was trying to fit in with the boys, but I think it’s a definite path I want to follow on later when the opportunity comes around again to do so.
2. I think that this freedom from the ‘play’ has helped my character grow in the sense that before my character was quite withdrawn whereas now I feel my character is becoming more and more approachable and open to others as the weeks go by. I feel that my character is really breaking out of her shell now, and whereas at the start she felt like she could never ever belong or fit in, or even know who she truly is, I think that slowly she’s slowly getting a hold of the real her. And I think that in general its down to those relationships that are being formed, and I f have found myself throwing myself into more situations than I thought my character would be, as my character started off very withdrawn and almost isolated but I think that was because she herself isolated herself from everyone and held up this brick wall and refused to let anyone in, in a sense. I think that now my character is beginning to feel comfortable in her skin and I think that the one thing she found she always missing is a connection with someone, so I think now she’s out to find someone to love and someone who loves her back.
3.I feel as though now my character’s overall physicality has started to make a significant change, whereas before she was quite closed and very much downward to the floor and almost quite sloppy, in the sense it was like an effort for her to look up as she didn’t really see the point in it because she couldn’t find anything to look forward too. However that has changed now and I think that she’s a lot more open and quite upward in her movements and generally the way she carries herself in a more positive refreshing way and I think that’s because she’s developed a greater sense of herself and is now getting to know these different people and breaking out from that barrier she had set. ‘A character is credible when the physical action comes from within and is not simply applied onto the character’s form’ , Dennis, (Pg 39: the actor in the performance space). I think that before her movements and gestures were initially quite restricted because that matched the way she was feeling emotionally, however know she’s more free in her movements, the movements at times can be relaxed but are still quite contorted at the same time. I think that my character’s relationship to gravity is very fluctuating at the moment, as I think she’s still getting to grips with adapting into this new environment.
Bibliography
Dennis, A (2002) The Articulate Body: The Physical Training of the Actor
Keefe, J & Murray, S (2007). Physical Theatres: A Critical Reader. London: Routledge
http://pushtheatre.org/index.htm
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