1-One of they key devising techniques that have been used throughout the first few weeks of Porto is improvisation. I would say that improvisation has helped my character very much. It has helped me by being Abel to develop my character. It has given me the opportunity for my character to develop a stronger character and has also given me the opportunity to be Abel to interact with others.
Body memory is another devising technique that has been used so far within Porto. We have been using body memory a lot in this module, but I feel that it is particularly important in Porto as in the lessons we are not always working in chronological order so we are relying heavily on our body memory to remember the things we have been working on previously and the way in which we do them.
Both of these techniques along with others have helped individual characters and there relationships with others to blossom, as our individual characters are improving it is allowing us to have strong ensemble work. as we begging to develop our characters we start to explore our creativity skills and this is particularly important as a lot of Porto will be based around creativity and working on impulse.
2-I am extremely happy with the growth of my character. At the begging I felt as if I did not no where I was going with my character. Due to this there was no development within my character. It was not until I seriously began to think deeply about my character I began to see a change. I thought a bout the journey of my character, I thought about the way in which my character moved, and which part of the body she led with, and I also thought about her purpose during Porto. All of these helped me to develop my character physically and I then started to see the growth in my character physically and emotionally. There is still a lot of development that is needed for my character, but I fell that week by week my character is a strong place and she is finding out different things a bout herself, that help the development of her character. Although I am still developing my character I need to start thinking about where my character is going, as my character seems to be getting very agitated as she seems not to be able to find what she is looking for, I start to think about what happens next to my character.
3-As my character seems to be very sad and agitated my characters physicality seems to be very heavy. So far throughout Porto my character seems to be tense as she is always looking over her shoulder, and is constantly clutching onto her bag. My character is reputedly looking over her shoulder and around the room, when sitting down my character is repeatedly doing a nervous gesture of tapping her foot. My characters constant clinging onto her bag causes the physicality of her spine to be slightly bent forward. As I think about the development of my character I think that when my character finds what she is looking for she begins to become more relaxed and her gestures and movement become much light than they originally were.
Wednesday, 11 March 2009
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.
Assessment Blog 2
1) Improvisation played a big role in the creativity of Porto, where play would also
take form. The class would move instinctively and impulsively, which would distinguish the action after and where the process would take us there on. “Internal and external influences will cause (motivate) the physical response” A. Dennis, (pg. 24, 2002) If I found my movement or gesture to be successful, it would be kept maybe adapted or developed further. Nevertheless during the process there have been times where the movement didn’t work or feel right so it was scrapped, which unfortunately plays a part in devising. As an actor you have to be prepared for your hard work and input to be taken out. In a recent lesson, we started on a new sequence which was developed through play. From this I discovered and learnt new ideas about my character, I found I had a fascination with two characters in particular. One which seem to pull out and show side to my personality of childish gestures, excited and memorized by this one character. The other made me feel hopeless, I wanted to help but there was something stopping me, which impede me not to do so.
2) My character is very hard and challenging. Where nearly everyone is surrounding you with sad and depressing vibes it throws you off. As Chekhov believed two contrasting atmospheres do not work. A majority of the characters who have the same mood overthrew my character the minority, who showed a contrast to the rest of the group. This I found difficult and hard to comprehend. Because of the feeling and impulse my character gave and the influences of other characters I had to adapt my character to fit the space. There are certain characters my character will not stand to be around, yet there are a couple of whom I was drawn towards and wanted to know more about. All these points assisted, moulded and grown my character to what it is today. In the play Porto my character starts of happy and at ease, however the journey goes on and I start to see and revisit memories that reminded me of my childhood- in my characters case not a happy one. This then by the end of the journey changes my mood and body language from being happy and high spirited- a character who loves life and music to someone who is lonely and depressed, joined to be like the rest of community- unhappy.
2) “There is no space for vagueness” A. Dennis (pg, 23, 2002) To be an effective and successful actor there needs to be a clear intention, motive and physicality known for your character. By doing this you will be able to respond and create dramatic situations without hesitation and delay. My characters physicality is at first very open, my movements and gestures are big, suggesting confidence and at ease with the space. The contact with my feet and the ground is not firm, the weight is light creating the lead of my walk to be from my tip toes rather than my heel, suggesting the bounciness and motion of my character. The stance is straight with a weight shift in the hip, implying the relaxed nature of my character. As the devising process went on I found my character to become less open and more with drawn. My physicality became smaller, my spine from being relatively straight, found itself starting to curve towards myself, creating the space between the tip of my head and chest to decrease.
“The body never lies” S. Murray and J. Keefe (pg, 21, 2007)
Physicality is very important when creating a character. The shape, movements and gestures made with your body will communicate a message to the audience, whether it was supposed to be read or not. “Everything the actor does is seen and interpreted” A. Dennis, (pg 17. 2002)
BIBLIOGRAPHY
Callery, D (2002) Through the body London: Routledge
Chekhov, M (2002) To the actor London: Routledge
Dennis, A. (2002) The Articulate Body: The Physical Training of the Actor London
Murray, S and Keefe, J (2007) Physical Theatres: A critical Introduction Oxon: Routlegde
Oddey, A (1994) Devising Theatre: A practical and theoretical handbook London: Routledge
take form. The class would move instinctively and impulsively, which would distinguish the action after and where the process would take us there on. “Internal and external influences will cause (motivate) the physical response” A. Dennis, (pg. 24, 2002) If I found my movement or gesture to be successful, it would be kept maybe adapted or developed further. Nevertheless during the process there have been times where the movement didn’t work or feel right so it was scrapped, which unfortunately plays a part in devising. As an actor you have to be prepared for your hard work and input to be taken out. In a recent lesson, we started on a new sequence which was developed through play. From this I discovered and learnt new ideas about my character, I found I had a fascination with two characters in particular. One which seem to pull out and show side to my personality of childish gestures, excited and memorized by this one character. The other made me feel hopeless, I wanted to help but there was something stopping me, which impede me not to do so.
2) My character is very hard and challenging. Where nearly everyone is surrounding you with sad and depressing vibes it throws you off. As Chekhov believed two contrasting atmospheres do not work. A majority of the characters who have the same mood overthrew my character the minority, who showed a contrast to the rest of the group. This I found difficult and hard to comprehend. Because of the feeling and impulse my character gave and the influences of other characters I had to adapt my character to fit the space. There are certain characters my character will not stand to be around, yet there are a couple of whom I was drawn towards and wanted to know more about. All these points assisted, moulded and grown my character to what it is today. In the play Porto my character starts of happy and at ease, however the journey goes on and I start to see and revisit memories that reminded me of my childhood- in my characters case not a happy one. This then by the end of the journey changes my mood and body language from being happy and high spirited- a character who loves life and music to someone who is lonely and depressed, joined to be like the rest of community- unhappy.
2) “There is no space for vagueness” A. Dennis (pg, 23, 2002) To be an effective and successful actor there needs to be a clear intention, motive and physicality known for your character. By doing this you will be able to respond and create dramatic situations without hesitation and delay. My characters physicality is at first very open, my movements and gestures are big, suggesting confidence and at ease with the space. The contact with my feet and the ground is not firm, the weight is light creating the lead of my walk to be from my tip toes rather than my heel, suggesting the bounciness and motion of my character. The stance is straight with a weight shift in the hip, implying the relaxed nature of my character. As the devising process went on I found my character to become less open and more with drawn. My physicality became smaller, my spine from being relatively straight, found itself starting to curve towards myself, creating the space between the tip of my head and chest to decrease.
“The body never lies” S. Murray and J. Keefe (pg, 21, 2007)
Physicality is very important when creating a character. The shape, movements and gestures made with your body will communicate a message to the audience, whether it was supposed to be read or not. “Everything the actor does is seen and interpreted” A. Dennis, (pg 17. 2002)
BIBLIOGRAPHY
Callery, D (2002) Through the body London: Routledge
Chekhov, M (2002) To the actor London: Routledge
Dennis, A. (2002) The Articulate Body: The Physical Training of the Actor London
Murray, S and Keefe, J (2007) Physical Theatres: A critical Introduction Oxon: Routlegde
Oddey, A (1994) Devising Theatre: A practical and theoretical handbook London: Routledge
Tuesday, 10 March 2009
Assessment 2
1. Throughout the devising process of, Porto we have used various techniques, which we are now starting to implement into the actual performance. One of those is the idea of ‘play’, where by we just experiment with different characters and react to what’s going on in that space and acting on our impulses, but not like before where we were ourselves but now as our characters. And there’s not a set mise-en-scene, so the action you create naturally captures that location/setting, “We don’t need a stage… Just a space” (Push Physical Theatre).
I think this particular technique is the most effective because it allows you to explore new avenues that you wouldn’t have necessarily thought of or even felt as if anything could emerge. It allowed for more improvised work, as I formed new bonds as such that I think could be developed further later on.
I prefer this way of working because it allows me to explore new relationships and evaluate others which I felt that I had to form a bond with. There was a part in the play between me, Dan and Richard and I felt it was quite childish and sweet but also quite funny as well, I felt like they were my brothers and I was trying to fit in with the boys, but I think it’s a definite path I want to follow on later when the opportunity comes around again to do so.
2. I think that this freedom from the ‘play’ has helped my character grow in the sense that before my character was quite withdrawn whereas now I feel my character is becoming more and more approachable and open to others as the weeks go by. I feel that my character is really breaking out of her shell now, and whereas at the start she felt like she could never ever belong or fit in, or even know who she truly is, I think that slowly she’s slowly getting a hold of the real her. And I think that in general its down to those relationships that are being formed, and I f have found myself throwing myself into more situations than I thought my character would be, as my character started off very withdrawn and almost isolated but I think that was because she herself isolated herself from everyone and held up this brick wall and refused to let anyone in, in a sense. I think that now my character is beginning to feel comfortable in her skin and I think that the one thing she found she always missing is a connection with someone, so I think now she’s out to find someone to love and someone who loves her back.
3.I feel as though now my character’s overall physicality has started to make a significant change, whereas before she was quite closed and very much downward to the floor and almost quite sloppy, in the sense it was like an effort for her to look up as she didn’t really see the point in it because she couldn’t find anything to look forward too. However that has changed now and I think that she’s a lot more open and quite upward in her movements and generally the way she carries herself in a more positive refreshing way and I think that’s because she’s developed a greater sense of herself and is now getting to know these different people and breaking out from that barrier she had set. ‘A character is credible when the physical action comes from within and is not simply applied onto the character’s form’ , Dennis, (Pg 39: the actor in the performance space). I think that before her movements and gestures were initially quite restricted because that matched the way she was feeling emotionally, however know she’s more free in her movements, the movements at times can be relaxed but are still quite contorted at the same time. I think that my character’s relationship to gravity is very fluctuating at the moment, as I think she’s still getting to grips with adapting into this new environment.
Bibliography
Dennis, A (2002) The Articulate Body: The Physical Training of the Actor
Keefe, J & Murray, S (2007). Physical Theatres: A Critical Reader. London: Routledge
http://pushtheatre.org/index.htm
I think this particular technique is the most effective because it allows you to explore new avenues that you wouldn’t have necessarily thought of or even felt as if anything could emerge. It allowed for more improvised work, as I formed new bonds as such that I think could be developed further later on.
I prefer this way of working because it allows me to explore new relationships and evaluate others which I felt that I had to form a bond with. There was a part in the play between me, Dan and Richard and I felt it was quite childish and sweet but also quite funny as well, I felt like they were my brothers and I was trying to fit in with the boys, but I think it’s a definite path I want to follow on later when the opportunity comes around again to do so.
2. I think that this freedom from the ‘play’ has helped my character grow in the sense that before my character was quite withdrawn whereas now I feel my character is becoming more and more approachable and open to others as the weeks go by. I feel that my character is really breaking out of her shell now, and whereas at the start she felt like she could never ever belong or fit in, or even know who she truly is, I think that slowly she’s slowly getting a hold of the real her. And I think that in general its down to those relationships that are being formed, and I f have found myself throwing myself into more situations than I thought my character would be, as my character started off very withdrawn and almost isolated but I think that was because she herself isolated herself from everyone and held up this brick wall and refused to let anyone in, in a sense. I think that now my character is beginning to feel comfortable in her skin and I think that the one thing she found she always missing is a connection with someone, so I think now she’s out to find someone to love and someone who loves her back.
3.I feel as though now my character’s overall physicality has started to make a significant change, whereas before she was quite closed and very much downward to the floor and almost quite sloppy, in the sense it was like an effort for her to look up as she didn’t really see the point in it because she couldn’t find anything to look forward too. However that has changed now and I think that she’s a lot more open and quite upward in her movements and generally the way she carries herself in a more positive refreshing way and I think that’s because she’s developed a greater sense of herself and is now getting to know these different people and breaking out from that barrier she had set. ‘A character is credible when the physical action comes from within and is not simply applied onto the character’s form’ , Dennis, (Pg 39: the actor in the performance space). I think that before her movements and gestures were initially quite restricted because that matched the way she was feeling emotionally, however know she’s more free in her movements, the movements at times can be relaxed but are still quite contorted at the same time. I think that my character’s relationship to gravity is very fluctuating at the moment, as I think she’s still getting to grips with adapting into this new environment.
Bibliography
Dennis, A (2002) The Articulate Body: The Physical Training of the Actor
Keefe, J & Murray, S (2007). Physical Theatres: A Critical Reader. London: Routledge
http://pushtheatre.org/index.htm
Blog Assessment 2
1) 'The devising process challenges every group member to confront their work, engage with it individually at different levels, as well as developing a sense of group co-operation, affiliation and unity at the same time' (Oddey, p24, 1996) This sense of co-operation and unity was visible during one of the first tasks we took part in. A strategy that was used within the ensemble to devise sections of Porto is by a member of the group clapping to demonstrate a particular movement or gesture. This is built upon until a handle of individuals have created more actions resulting in there being a small sequence of different mannerisms whether it be pedestrian or stylised, in which the ensemble copy and perform in unison with each other. This effectively creates and signifies to the audience the group as a community united as one. Although as a group we have something in common with each other, the fact that we are all part of Porto, we also have individuality and uniqueness which is then portrayed through our own individual sequences that were created after the group ensemble task. This task of creating individual sequences has contributed to the development of characters and fuelled ideas and ways forward for myself.
2) '...whether your starting point is a style of performance or an idea about content, the process begins with generating visual material: characters, actions, images, all from physical improvisation' (D, Callery, 2001, p172) Porto's stating point has been the creation of strong characters and relationships. There has been a strong evolution of my character although during the beginning of the process I had no visions or ideas of how my character should be, but my object - a digital camera, has always been the driving force to many decisions that I have made physically and emotionally. The photograph scene enabled me to explore a side to myself that I am very familiar with, taking photos as a record of memories. When working on this scene and creating relationships within the small ensemble, I believed that I was fully aware of my character. This changed as Nicola's character was introduced during the opening as I held back from taking a photo of her, something I would have usually done but she seemed to express a form of sadness and distress and I felt that my character would not want to interfere with this. Also during a play session, a contrasting side of my character emerged as I began to feel shy and vulnerable when working with Sarah which is something I aim to explore further.
3) My character's physical movement is somewhat snake like at times. I travel around using the floor and crawling so that I cannot be seen especially during the photograph scene where I surprise people with my camera flash and my character seems to be more comfortable travelling using lower levels. My character explores a range of levels and when standing I lead with my legs and tend to tip-toe about making as little noise as possible. With reference to working with Sarah, my body language and positioning totally changed to how it was during the photograph ensemble piece. I began to portray negativity and become annoyed by Sarah's character by ignoring her and moving away from her. During a chair sequence there was repetition of hand gestures, twiddling thumbs and tapping thighs which was then copied by Sarah and resulted in a build up of tension in which I finally give in to her annoyance and begin to positively interact with her. 'Beauty lies in the ability of the performer to be emotionally vulnerable and honest with the audience' [http://pushtheatre.org/philosophy.htm] I feel as though I am exploring an emotional vulnerability as different emotions are emerging in the result of interacting with different characters and I aim to take more physical risks to develop the physicality of my character.
Bibliography
Callery, D (2001). Through The Body - A Practical Guide to Physical Theatre. k: Nick Hern Books.
Oddey, A (1996). Devising Theatre: A Practical and Theoretical Handbook. Routlegde.
Other Sources
Anon. A Case For Physical Theatre. Available: http://pushtheatre.org/philosophy.htm. Last accessed 10 March 2009
Leyna Bansal
2) '...whether your starting point is a style of performance or an idea about content, the process begins with generating visual material: characters, actions, images, all from physical improvisation' (D, Callery, 2001, p172) Porto's stating point has been the creation of strong characters and relationships. There has been a strong evolution of my character although during the beginning of the process I had no visions or ideas of how my character should be, but my object - a digital camera, has always been the driving force to many decisions that I have made physically and emotionally. The photograph scene enabled me to explore a side to myself that I am very familiar with, taking photos as a record of memories. When working on this scene and creating relationships within the small ensemble, I believed that I was fully aware of my character. This changed as Nicola's character was introduced during the opening as I held back from taking a photo of her, something I would have usually done but she seemed to express a form of sadness and distress and I felt that my character would not want to interfere with this. Also during a play session, a contrasting side of my character emerged as I began to feel shy and vulnerable when working with Sarah which is something I aim to explore further.
3) My character's physical movement is somewhat snake like at times. I travel around using the floor and crawling so that I cannot be seen especially during the photograph scene where I surprise people with my camera flash and my character seems to be more comfortable travelling using lower levels. My character explores a range of levels and when standing I lead with my legs and tend to tip-toe about making as little noise as possible. With reference to working with Sarah, my body language and positioning totally changed to how it was during the photograph ensemble piece. I began to portray negativity and become annoyed by Sarah's character by ignoring her and moving away from her. During a chair sequence there was repetition of hand gestures, twiddling thumbs and tapping thighs which was then copied by Sarah and resulted in a build up of tension in which I finally give in to her annoyance and begin to positively interact with her. 'Beauty lies in the ability of the performer to be emotionally vulnerable and honest with the audience' [http://pushtheatre.org/philosophy.htm] I feel as though I am exploring an emotional vulnerability as different emotions are emerging in the result of interacting with different characters and I aim to take more physical risks to develop the physicality of my character.
Bibliography
Callery, D (2001). Through The Body - A Practical Guide to Physical Theatre. k: Nick Hern Books.
Oddey, A (1996). Devising Theatre: A Practical and Theoretical Handbook. Routlegde.
Other Sources
Anon. A Case For Physical Theatre. Available: http://pushtheatre.org/philosophy.htm. Last accessed 10 March 2009
Leyna Bansal
Assessment 2: Tonia Shepherd
Question 1:
Open play is a straightforward yet dazzling way of devising new material. Watching from the outside of the open play session, I felt as though I was watching a performance already devised and rehearsed for many months. It was so mind gripping to see the how the communication and interaction between the characters helped them to naturally develop.
After observing the process of Porto as a whole and focusing on the individual progress of characters, I found the improvisation as a distinctive eye opener. Many of the characters illustrated different characteristics that they themselves did not anticipate. Characters started to interact with other characters they had no intention of communicating with in the start of the process.
The open play session was definitely of use for the progression of Porto. For the characters, Royona and Paul it opened a whole new stem of ideas of scenes to be created or explored later on. Many new relationships were created and many alter egos unmasked.
This session would not have been as effective in the early stages, as many of the characters were still unsure about their purpose in Porto.
Question 2
Visualising the opening of Porto from the audiences perspective was hard initially as I, myself to not have a character in Porto. It was hard to visualise how the audience would interpret the performance. I then realised I did not need a character to depict the audiences interpretation of the piece, and once I realised this, the interpretation became effortless.
I began to question whether or not the audience would comprehend the opening scene. Would they identify with cast being characters in Porto? Would they know what Porto meant?
As an outsider documenting the process of Porto, every week for me is watching the piece from the eyes of the audience, although I have knowledge and understanding of the characters throughout. Trying to discard all knowledge of Porto and concentrating on visualising the opening scene, with my mind being a blank canvas to begin with was hard, but I removed all understanding of Porto and the characters within to gain achievement of the task at hand.
Initially I was uncertain what potential Porto had. I was unsure as to whether the original idea could create as good material as last year’s performance of Fractal. Since being given the role to document the process, it has given me the chance to gain a deeper understanding of the different characters within Porto. This in turn has helped change my starting perceptions of the concept.
Question 3
The already devised material needs no additional narrative. The intensity comes from the actions and the emotions of the characters in Porto. I personally believe that the less dialog the more effective the piece will be and the more the audience are forced to focus on decoding different signs within the performance.
Dialogue should not be used within this piece unless there is a definite purpose for its input. Using unnecessary narrative can distract the audience for the immensity of the performance.
I believe later on opportunities to input further dialogue may arise but until then the narrative at the beginning, is all Porto needs.
Open play is a straightforward yet dazzling way of devising new material. Watching from the outside of the open play session, I felt as though I was watching a performance already devised and rehearsed for many months. It was so mind gripping to see the how the communication and interaction between the characters helped them to naturally develop.
After observing the process of Porto as a whole and focusing on the individual progress of characters, I found the improvisation as a distinctive eye opener. Many of the characters illustrated different characteristics that they themselves did not anticipate. Characters started to interact with other characters they had no intention of communicating with in the start of the process.
The open play session was definitely of use for the progression of Porto. For the characters, Royona and Paul it opened a whole new stem of ideas of scenes to be created or explored later on. Many new relationships were created and many alter egos unmasked.
This session would not have been as effective in the early stages, as many of the characters were still unsure about their purpose in Porto.
Question 2
Visualising the opening of Porto from the audiences perspective was hard initially as I, myself to not have a character in Porto. It was hard to visualise how the audience would interpret the performance. I then realised I did not need a character to depict the audiences interpretation of the piece, and once I realised this, the interpretation became effortless.
I began to question whether or not the audience would comprehend the opening scene. Would they identify with cast being characters in Porto? Would they know what Porto meant?
As an outsider documenting the process of Porto, every week for me is watching the piece from the eyes of the audience, although I have knowledge and understanding of the characters throughout. Trying to discard all knowledge of Porto and concentrating on visualising the opening scene, with my mind being a blank canvas to begin with was hard, but I removed all understanding of Porto and the characters within to gain achievement of the task at hand.
Initially I was uncertain what potential Porto had. I was unsure as to whether the original idea could create as good material as last year’s performance of Fractal. Since being given the role to document the process, it has given me the chance to gain a deeper understanding of the different characters within Porto. This in turn has helped change my starting perceptions of the concept.
Question 3
The already devised material needs no additional narrative. The intensity comes from the actions and the emotions of the characters in Porto. I personally believe that the less dialog the more effective the piece will be and the more the audience are forced to focus on decoding different signs within the performance.
Dialogue should not be used within this piece unless there is a definite purpose for its input. Using unnecessary narrative can distract the audience for the immensity of the performance.
I believe later on opportunities to input further dialogue may arise but until then the narrative at the beginning, is all Porto needs.
Monday, 9 March 2009
Blog Assessment 2
Word Count: 600 words total ( 200 + 200 + 200 )
Task:
There are 3 questions you need to answer as part of this task.
The questions relate to the last 5 weeks of Porto’s development through the ‘R’ phase of the RSVP model of devising
Conduct wider independent reading and use quotes and examples to support your views.
Present your writing in academic language with Harvard Referencing and a Bibliography presented alphabetically at the end of your post.
Questions:
1.What are the key strategies of devising that have been used through the first 5 weeks of creating Porto? Reflect briefly on how these strategies have enabled the growth and development of both individual characters and the ensemble’s idiosyncrasies. (200 words)
2.Analyse the growth of your own character from the beginning of Porto to where you are at in the process now. State the reasons for its development/change/refinement. (200 words)
3.Identify your character’s physicality through detailed analysis of its body language. (For example describe your character’s use of spine and its relationship to gravity, its shift of weight in the pelvis and even the repetition of a key gesture) (200 words)
Deadline: Wednesday, 11th March 2009, 5 pm
Task:
There are 3 questions you need to answer as part of this task.
The questions relate to the last 5 weeks of Porto’s development through the ‘R’ phase of the RSVP model of devising
Conduct wider independent reading and use quotes and examples to support your views.
Present your writing in academic language with Harvard Referencing and a Bibliography presented alphabetically at the end of your post.
Questions:
1.What are the key strategies of devising that have been used through the first 5 weeks of creating Porto? Reflect briefly on how these strategies have enabled the growth and development of both individual characters and the ensemble’s idiosyncrasies. (200 words)
2.Analyse the growth of your own character from the beginning of Porto to where you are at in the process now. State the reasons for its development/change/refinement. (200 words)
3.Identify your character’s physicality through detailed analysis of its body language. (For example describe your character’s use of spine and its relationship to gravity, its shift of weight in the pelvis and even the repetition of a key gesture) (200 words)
Deadline: Wednesday, 11th March 2009, 5 pm
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