Task 3

1) To reach the final stage of the ‘RSVP’ model; the performance, one must first work through the initial stages of Research, Scoring and Validation. The stage of research and resource are very critical in the process of devising. It’s the stage of searching for new information, learning new skills and potentially developing characters. “Allow casts time to familiarize themselves with the general physical style” (T. Bicat and C. Baldwin, 2002: pg. 88) this is done within the research and resource period. Without a strong back story and sufficient information, a piece of theatre will not potentially be as clear as it could be, destroying the clarity and leaving the actors not fully understanding their role. This may create the audience to miss understand; leaving the theatre with the piece not in its entirety. “There is no space for vagueness” (A. Dennis, 2002: pg. 23) When devising, as an actor it is important to know your position and role within the production.
Once the research/ resource stage is complete, it is time to score. Porto has many individual sequences and scenes; however they are not in its entirety and for definite “[…] as ideas get tested and thrown out” (T. Bicat and C. Baldwin, 2002: pg. 129) Porto is set together bit by bit, where the different scenes are seen by the onlooker and cast, together the decision is made to create a multitude of dramatic images, texts through body and movements.

2) In Porto there is structure, however it is loose. The structure is the basis and foundation for our final product, this allows us to discover and build on top of it. From our devising process it is visible that our work can be adapted, changed and edited at any point. This then, means that not until the work is validated and ready to perform will it be in its firm structure. Even so, the work still may not be definite. On the night of the performance, your body may lead you to move differently from all the other times rehearsed, it is important to go with your impulse and not deny your physical emotions from the truth. This could suggest that not ever in Porto will our piece have a distinct structure. The narrative in Porto is beginning to emerge. In Porto there are several characters who have introduced their narratives and motive’s. The characters all have their different stories and difficulties to share, however they all primarily come back to the same point. The liminality, as Turner says the midpoint of transition between two points. Stuck in this space, wanting to escape, the narrative evolves.

3) “In drama, as in the other arts, without skills in their chosen medium, even the most creative of students will find it hard to make progress” (Hornbrook, D. 1998, pg 135) Before the making of the character, I first had to identify myself with the genre of Physical Theatre. This was achieved through the first few weeks of the module. We were taught new techniques, skills and the cultural and historical context of which Physical Theatre originates. This was helpful and useful as when it came to constructing a character, all the skills and back ground knowledge fell into place, and provided us with an extra advantage. Once this was processed and stored, we then moved onto characters through physicality.Creating my character; there was a lot of research involved. I wanted to make sure that my understanding was clear, therefore hoped this reflected in my movements. The progression of my character from the earlier stages to now has definitely grown and developed. Yet, I would not say that my character is concrete. Through out the whole process I feel that my character will not stay in one place, but will develop and learn new discoveries about it self. Human beings don’t stay the same, they change with time, therefore if my character is reflecting a true person, it will also change and develop with time.