1) Reflecting back on Porto it was evident that all the characters created, at some point shared their own individual story and experiences. From the validation phase to the performance itself, it was clear that there were similar themes and issues that began to emerge. Characters seemed to have an erg to belong and to be included in a group or click, although still stuck in their individual routine and world. Characters found it difficult to comply and conform to the majority, yet it is still what they desire. An example of this is made known in the opening scene; the ensemble performed a sequence in unison. This was a shocking, very tense and a powerful scene. The entire cast did the same movements which demonstrated the world we live in, the constant routines caught up in the fixed ways of society. However, with some of the characters striving to escape; the frustration and sense of individuality was established through the characters bodies and positioning, implying their state of mind. Because of the notion of belonging and acceptance the characters are constantly pushed back to the everyday custom. Porto is like a reflection of the world we live in, a copy of real life. We are persistently reminded that there are rules, laws and obligations that restrict us. “The body is the direct point of connection between our inner self and the outer world” (L. Marshall, 2001: pg. xii preface)
2) The transition of Porto from the drama studio into the Arena Theatre had its strengths and weaknesses. The fact, the cast had a chance for a complete week to practise in the professional space was an advantage. The company had the chance to adapt to the space, new surroundings and the working environment in which the performance was to be held. The theatre was not a familiar space, therefore meant the rehearsals and practises enabled the theatre to become a positive aspect to the performance. This helped us to feel comfortable and confident. During the transition we had to take into consideration and be sensitive to the lighting and technical crew, where in the studio it was not a necessity.
As well as our first time undertaking a run- through in the Theatre space, it was to the technical crews. This meant the run- through may not have been as smooth as it should, seeing that there where stops and repeats. As a company we had to be professional and deal with the fact that we were all a team and on the same journey. We had to show the qualities of a true professional company and endured the long, demanding, repetitive days of rehearsals. From this process it demonstrated how much of a close group we actually are and how fine we bonded collectively.
Reflecting back on the transition, the feel of the periphery in the theatre seemed to be very spaced out. This however turned into a positive, initially the space of the periphery in the studio became a complication as it was apparent that the periphery was not being sensitive and therefore took the main focus centre stage. “The key to good responding is remaining in a place of constant alertness and sensitivity to the movement.” (L. Marshall, 2001: pg. 157) Nevertheless when the action moved to the theatre space, the characters became more aware and the space was larger to work with, opening the action in the middle. This created less attention to the periphery, with also the main lighting not on them, focusing the audience’s attention on the main performance, which therefore in turn produced the periphery to work well.
3) The growth of my character was major. Even until the last stage of the RSVP model my character was growing, improving and learning new information.
The ‘R’ stage is a very important period to the development and growth of any character. In my case, was highly significant. This phase helped me to firstly appreciate and understand the field of Physical theatre, the historical context and the genre aims and intentions. Secondary the ‘R’ stage assisted my understanding of my character and helped me become aware of the skills and techniques needed for the world of Physical Theatre. For a character to be convincing and true, it is important that research takes place and the actors understanding of their individual character and genre is clear. This means the audience’s signals will be comprehensible and their understanding and emotional connection to the play will be on a next level. “Out of what we offer them, they ‘create’ meaning and interpretation” (L. Marshall, 2001: pg. 138) Many theatre companies believe that research is important and assists the development and growth of a character. “I am not interested in making work that does not focus clearly on content. Content, rather than style drives DV8’s work.” (DV8 Physical Theatre, 2008) In order for there to be a strong content there needs to be some sort of research. A task that facilitated my research was the letter; we were required to send a letter to the lecturer from our character. This was useful because it required me to use my mind and think about my character, not only physically but intellectually and mentally. To write the letter there had to be some independent research on the type of character I wanted to portray. Even though all that was found and discovered was not written in the letter, I still had points wrote down for my own purpose to refer to during the process. Points which made me think about the characters movements; how she would walk and move, the characters thoughts, how she might think, what would create an impulse for her to move. “I seek movement with intention and purpose” (DV8 Physical Theatre, 2008) the characters style of dress “You should think carefully about how your character would dress” (L. Marshall, 2001: pg. 172) All these points had to be taken into consideration when creating my character. Reflecting on the final three shows, individually I felt that my acting was consistent. I can truly say my all was given in the three shows and considering the role I played, nothing more could have been given.
“Time doesn’t stand still. You change, Theatre changes [...] what works for you today may not work in five years. So keep exploring” (L. Marshall, 2001: pg. 218)
My character had its ups and downs, there were days my character felt no emotional connection and days when it was never better. If a character is meant to be real, then a character should never really safe, as life isn’t. As human beings we are always taking in new information and never are at the same emotional level. Therefore let our work be natural and not falsified to create an artificial character, but allow growth and development to take place.
Bibliography
Marshall, L. (2001). The Body Speaks- Performance and Expression. London: Methuen Publishing Limited
Other Sources
DV8 Physical Theatre, 2008, Lloyd Newson in Converstaion with Jo Butterworth. Available at: http://www.dv8.co.uk/about.dv8/LNbutterworth.html [Accessed 11th May]
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