1) Porto is about a journey and the first stage of our journey was the research the group’s main focus within this research period is really just playing getting to know our individual characters how we interact with one another and mainly to test our physical abilities with in an open space. The research part is very important as it is about increasing the identity further and getting us to the same level and understanding and finding out naturalistic interactions and making the Porto community grow. This is the time within a piece to not be safe in what we produce “physical training is the process leading to creative freedom rather than perspective set of techniques. Its purpose is to enable actors to become more transformable and more expressive”. Callery D2001 page 1: practical Guide to Physical Theatre (Theatre Arts (Rutledge Paperback). So it is our chance to be creative whilst in the process and research phase
Then once the research/resource stage is completed we move onto the score stage when outside eyes and the ensemble begin to develop the interactions also reassessing individual parts and group collaborations. Effectively the piece begins to take form and Porto has a stronger identity
2) The structure of the piece seems to be about different characters, personalities and relationships confined within one space, being brought into somewhere but somehow not being able to get out. The main narrative within Porto I feel is between Jai and Nicolas character and Blake and Amy here there situation seems a lot more complex and their relationship throughout is quite fast paced loud which brings a different element to Porto and seem more surreal. The use of repetition within the sections also shows unity within the ensemble and that new characters are falling into a way of life losing personal identities. Further more this helps make the narrative clearer that we are all the same we all came in here with a problem and are looking for a way out; even though some of us try to break out we get bought back in. The main focus is around relationships at the moment s like mine, Gina and Antoinette’s love triangle and Gavin and Amy’s which are quite similar which again shows we are all the same. We need to be clever when doing this as with physical theatre “The key distinguishing factor is a focus on narrative, character and storytelling”.
3) From the research stage I thought that I had a strong character. However through the ensemble work and group work my character has changed a lot. On the contrary I was not thinking about my emotional side very much I was stuck in the trap of thinking if I walked a certain way or interacted with another person then I would be conveying what was on my mind but I was not being true to myself so I went back to the research stage
and questioned myself and literally asked myself what is my character feeling within Porto if I felt distant from everyone else maybe its my character that feels separate so I when we went back to the ensemble pieces I knew to show I alone within a mass and it related to Paul's voice over when he said “Have you ever felt alone in a crowd?”. Which is what my character truly believes? Because no one relates to his message I am trying to share. So for now on I will ask myself would my character do this. Who would he talk to within the ensemble? And then through interactions with others my questioned will be answered. I feel that I need to get into my character more take risk and let go.
Bibliography:
Callery, D. (2001) Through the Body, A Practical Guide to Physical Theatre. London, Routledge
http://www.blackfishacademy.com/physical.htm
Showing posts with label David Jackson. Show all posts
Showing posts with label David Jackson. Show all posts
Wednesday, 1 April 2009
Wednesday, 11 March 2009
assesment 2- blog 2
1-The main technique that we implemented was the idea of play and improvisation. In the first couple of weeks which we had begun to use body memory and responding to the space which was very important for me as it personally gave me more freedom and it didn’t feel right or wrong. After my character was formed it became harder as I thought that I would have created a character as the process went along and had more time to develop instead of forming a character start away.
As an ensemble the clapping strategy was really effective it gave everyone more focus and a mutual understanding of what emotion we are tying to portray as a group. It is very important to be able to explain why I am doing something what is my character showing and relate everything back to my character and question weather my character would move like that? How he would respond to people interacting with him? The increase in confidence is a big step and although I am sure my character is not totally formed interacting with others has really helped and giving more which can then be taken out and rather than have nothing.
2-The process to me is twice as important as the performance the journey that I have been on physically and emotionally up to this point has not really been draining as I feel I have not yet explored all the possibilities that I can do. Although the last week I have begun to interact a lot more and build on the relationships with people whereas previously I set my character to be quite withdrawn in fact using my pop brought out another side and in fact I do need to interact a lot more with people and its my character that wants to talk to someone and not me as a person and to separate that it a really big achievement for me. My main focus from now is definitely building relationships and giving a purpose for everything I am doing its no longer about the improve strategies is its about going over gestures and movements that my character does in order to make it more convincing. The costume I have chosen shows my emotional sense of not belonging within Porto trying to be something i am not. I chose to mix the smart shirt and casual bottoms as it shows confusion.
3-My character is very definite in his approach he now has a purpose within Porto so when developing relationships and interactions I use very direct moves when i am interacting with everyone, people I have had a stronger relationships with I move a lot slower and gentle because my character would be the type to try harder with more. As my character has a relationship with god he constantly looks to the sky to ask for answers. Most of my weight is balanced on my right leg as that is the side my bag is on with the bible in it so I have made a conscience choice to do this as it represents a extra weight I am carrying not just physically but an emotional struggle. And even though it’s a small bag I want people to question the fact why it is so heavy and perhaps if someone else takes it it is light to them. Body language to me is also about facial expressions and I feel my character would hold his head down a lot of the time just watching so its more evident when I hold it up its for something I have strong feelings towards.
David Jackson
As an ensemble the clapping strategy was really effective it gave everyone more focus and a mutual understanding of what emotion we are tying to portray as a group. It is very important to be able to explain why I am doing something what is my character showing and relate everything back to my character and question weather my character would move like that? How he would respond to people interacting with him? The increase in confidence is a big step and although I am sure my character is not totally formed interacting with others has really helped and giving more which can then be taken out and rather than have nothing.
2-The process to me is twice as important as the performance the journey that I have been on physically and emotionally up to this point has not really been draining as I feel I have not yet explored all the possibilities that I can do. Although the last week I have begun to interact a lot more and build on the relationships with people whereas previously I set my character to be quite withdrawn in fact using my pop brought out another side and in fact I do need to interact a lot more with people and its my character that wants to talk to someone and not me as a person and to separate that it a really big achievement for me. My main focus from now is definitely building relationships and giving a purpose for everything I am doing its no longer about the improve strategies is its about going over gestures and movements that my character does in order to make it more convincing. The costume I have chosen shows my emotional sense of not belonging within Porto trying to be something i am not. I chose to mix the smart shirt and casual bottoms as it shows confusion.
3-My character is very definite in his approach he now has a purpose within Porto so when developing relationships and interactions I use very direct moves when i am interacting with everyone, people I have had a stronger relationships with I move a lot slower and gentle because my character would be the type to try harder with more. As my character has a relationship with god he constantly looks to the sky to ask for answers. Most of my weight is balanced on my right leg as that is the side my bag is on with the bible in it so I have made a conscience choice to do this as it represents a extra weight I am carrying not just physically but an emotional struggle. And even though it’s a small bag I want people to question the fact why it is so heavy and perhaps if someone else takes it it is light to them. Body language to me is also about facial expressions and I feel my character would hold his head down a lot of the time just watching so its more evident when I hold it up its for something I have strong feelings towards.
David Jackson
assesment 2-
1-The main technique that we implemented was the idea of play and improvisation. In the first couple of weeks which we had begun to use body memory and responding to the space which was very important for me as it personally gave me more freedom and it didn’t feel right or wrong. After my character was formed it became harder as I thought that I would have created a character as the process went along and had more time to develop instead of forming a character start away.
As an ensemble the clapping strategy was really effective it gave everyone more focus and a mutual understanding of what emotion we are tying to portray as a group. It is very important to be able to explain why I am doing something what is my character showing and relate everything back to my character and question weather my character would move like that? How he would respond to people interacting with him? The increase in confidence is a big step and although I am sure my character is not totally formed interacting with others has really helped and giving more which can then be taken out and rather than have nothing.
2-The process to me is twice as important as the performance the journey that I have been on physically and emotionally up to this point has not really been draining as I feel I have not yet explored all the possibilities that I can do. Although the last week I have begun to interact a lot more and build on the relationships with people whereas previously I set my character to be quite withdrawn in fact using my pop brought out another side and in fact I do need to interact a lot more with people and its my character that wants to talk to someone and not me as a person and to separate that it a really big achievement for me. My main focus from now is definitely building relationships and giving a purpose for everything I am doing its no longer about the improve strategies is its about going over gestures and movements that my character does in order to make it more convincing. The costume I have chosen shows my emotional sense of not belonging within Porto trying to be something i am not. I chose to mix the smart shirt and casual bottoms as it shows confusion.
3-My character is very definite in his approach he now has a purpose within Porto so when developing relationships and interactions I use very direct moves when i am interacting with everyone, people I have had a stronger relationships with I move a lot slower and gentle because my character would be the type to try harder with more. As my character has a relationship with god he constantly looks to the sky to ask for answers. Most of my weight is balanced on my right leg as that is the side my bag is on with the bible in it so I have made a conscience choice to do this as it represents a extra weight I am carrying not just physically but an emotional struggle. And even though it’s a small bag I want people to question the fact why it is so heavy and perhaps if someone else takes it it is light to them. Body language to me is also about facial expressions and I feel my character would hold his head down a lot of the time just watching so its more evident when I hold it up its for something I have strong feelings towards.
As an ensemble the clapping strategy was really effective it gave everyone more focus and a mutual understanding of what emotion we are tying to portray as a group. It is very important to be able to explain why I am doing something what is my character showing and relate everything back to my character and question weather my character would move like that? How he would respond to people interacting with him? The increase in confidence is a big step and although I am sure my character is not totally formed interacting with others has really helped and giving more which can then be taken out and rather than have nothing.
2-The process to me is twice as important as the performance the journey that I have been on physically and emotionally up to this point has not really been draining as I feel I have not yet explored all the possibilities that I can do. Although the last week I have begun to interact a lot more and build on the relationships with people whereas previously I set my character to be quite withdrawn in fact using my pop brought out another side and in fact I do need to interact a lot more with people and its my character that wants to talk to someone and not me as a person and to separate that it a really big achievement for me. My main focus from now is definitely building relationships and giving a purpose for everything I am doing its no longer about the improve strategies is its about going over gestures and movements that my character does in order to make it more convincing. The costume I have chosen shows my emotional sense of not belonging within Porto trying to be something i am not. I chose to mix the smart shirt and casual bottoms as it shows confusion.
3-My character is very definite in his approach he now has a purpose within Porto so when developing relationships and interactions I use very direct moves when i am interacting with everyone, people I have had a stronger relationships with I move a lot slower and gentle because my character would be the type to try harder with more. As my character has a relationship with god he constantly looks to the sky to ask for answers. Most of my weight is balanced on my right leg as that is the side my bag is on with the bible in it so I have made a conscience choice to do this as it represents a extra weight I am carrying not just physically but an emotional struggle. And even though it’s a small bag I want people to question the fact why it is so heavy and perhaps if someone else takes it it is light to them. Body language to me is also about facial expressions and I feel my character would hold his head down a lot of the time just watching so its more evident when I hold it up its for something I have strong feelings towards.
Thursday, 19 February 2009
assesment 1-
To define physical theatre is not possible it is movement from impulse a method of expressions to show feelings using pedestrian, stylised or neutral impulses. Prior to exploring the genre of physical theatre my preconceptions were that it was more dance, as with drama you don’t have to have physical movements but dance it is purely based upon physical movements with perhaps a little story behind it. After realising the prominence of a storyline inspired by movement as DV8 says it is not necessary to label it. The method is what really surprising it was the ability to separate yourself and overcoming inhibitions. Other features is the things we don’t see like the journey the performer goes through, the process of forming relationships, the setting, background and emotions. “It is the performers live body more than spoken text which gives theatre its defining identity” which means it’s the body’s meaning as it walks through a space it is what the body says to the audience. It’s not important to use aural as there is more tension and atmosphere without spoken words. In addition it is not important how the piece looks but how it got there through exploration and play.
It is clear the term hybrid character applies to physical theatre; Ana Sanchez-Colberg implies that “The term itself – ‘physical theatre’ – denotes a hybrid character and is testimony to its double legacy in both avant-garde theatre and dance. (Sanchez-Colberg 1996, p40) I agree with this as physical theatre is about the formation of characters using dance like movement. The two different styles are the main factors within physical theatre However Jacques lecoq feels that we should also acknowledge the other theatrical forms that are contained within physical theatre such as French mime, circus or street performance which are all popular performance styles. Lecoq is expressing that you don’t have to be able to dance or act to do physical theatre its just a combination of performance elements and styles not defined, I feel that Sanchez-Colberg is limited in her definition of physical theatre and it is a broader spectrum.
Forbidden theatre “consists of theatre professionals who enjoy creating work collaboratively and sharing the creative processes with audiences” I have looked closer at them as they have a real sense of play and don’t focus on a pretty performance. There style complements what I have begun to understand of physical theatre their aim is to focus on the techniques that are used when making a piece, their workshops they practise how to create moods and atmosphere, forbidden theatre is the definition of physical theatre as they “take the audience down an unforgettable journey by using our only essential performance tool: ourselves”. This is the key element to how they perform they are very visual and have very stylised pieces. Interestingly they look close at the practitioners such as Stanislavskiy, Brecht, Lecoq and apply a practical approach to their theories; they have the elements and background which make up physical theatre.
bibliography
http://www.dv8.co.uk/
http://www.forbidden.org.uk/
http://www.phyiscaltheatre.com/
Keefe,j & Murray,s Physical theatre:2007- A critical reader London routledge
Murray,S Jaques Lecoq:2003-Routledge performance practitioners
David Jackson
It is clear the term hybrid character applies to physical theatre; Ana Sanchez-Colberg implies that “The term itself – ‘physical theatre’ – denotes a hybrid character and is testimony to its double legacy in both avant-garde theatre and dance. (Sanchez-Colberg 1996, p40) I agree with this as physical theatre is about the formation of characters using dance like movement. The two different styles are the main factors within physical theatre However Jacques lecoq feels that we should also acknowledge the other theatrical forms that are contained within physical theatre such as French mime, circus or street performance which are all popular performance styles. Lecoq is expressing that you don’t have to be able to dance or act to do physical theatre its just a combination of performance elements and styles not defined, I feel that Sanchez-Colberg is limited in her definition of physical theatre and it is a broader spectrum.
Forbidden theatre “consists of theatre professionals who enjoy creating work collaboratively and sharing the creative processes with audiences” I have looked closer at them as they have a real sense of play and don’t focus on a pretty performance. There style complements what I have begun to understand of physical theatre their aim is to focus on the techniques that are used when making a piece, their workshops they practise how to create moods and atmosphere, forbidden theatre is the definition of physical theatre as they “take the audience down an unforgettable journey by using our only essential performance tool: ourselves”. This is the key element to how they perform they are very visual and have very stylised pieces. Interestingly they look close at the practitioners such as Stanislavskiy, Brecht, Lecoq and apply a practical approach to their theories; they have the elements and background which make up physical theatre.
bibliography
http://www.dv8.co.uk/
http://www.forbidden.org.uk/
http://www.phyiscaltheatre.com/
Keefe,j & Murray,s Physical theatre:2007- A critical reader London routledge
Murray,S Jaques Lecoq:2003-Routledge performance practitioners
David Jackson
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