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
No comments:
Post a Comment