Porto blog assessment: Task 3

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