(1)



From the beginning of creating Porto we have been introduced to Halprin's devising technique of RSVP, meaning Research,Score,Validation and Performance. With this technique it felt appropriate to understand the meaning of each part, for example;





The Oxford English dictionary describes the word re-source as;











'An available supply that can be drawn on when needed. Often used in the plural.'




And the meaning of research is described as;




'Research is a systematic, formal rigorous and precise process employed to gain solutions to problems and/or to discover and interpret new facts and relationships. '









After finding the meaning we must then relate it to the piece. When describing research in Porto we refer to the creation of our body memory. Learning each technique adds to our 'research' which then becomes a 're-source' every time we want to come back to a movement for a particular emotion.



Now that we have done the 'research' for both our characters and physical awareness, we are now currently working in the 'score' part of the piece, this is where we can now develop relationships and emotions with each other, adapting what we have already created in the research part of the devising model. By adding such things as objects and music the devising stage becomes personal to each person. As a ensemble we can now work through the new adaptations creating an in-depth performance.





(2)


Now that we are firmly scoring Porto, you can see clear relationships that have developed within in the group, however apart from the actual starting point of Porto meaning 'journey' I do not feel that there is a clear narrative, there are too many bonds and individual journeys that i feel an audience would become distracted by to realise a particular story line or plot.When working outside of the ensemble you can see small narratives within each relationship, these narratives however are not always apparent to the large group because they have been created at different points.


My character is involved in the 'photo section' of the piece. In this, my character has been able to develop a strong relationship with another character, which is then picked up upon again later in the group ensemble, it's in these small sub-groups that characters develop personal structures and stories.

The piece itself began with a strong theme in the research stage, it was then after moving into 'score' we were able to create the powerful ensemble moments, however I do not feel that we would of been able to get to this position without separating into our smaller groups giving us the chance to focus on our characters journey.



(3)

At the start of creating Porto, I began by researching for my first character choice; the ditsy, forgetful, happy go lucky girl, her movements were sharp and bubbly, emotionally my character did not seem connected to any one, so most of the research made went into finding something to focus on, this was how I found my new character with Edward. This character has evolved in the last few weeks of devising Porto, everything about my first character and this one are completely different, physically she begins by moving slowly and at times menacingly, yet all her movements are still naturalistic. Emotionally the character changes within the performance, her opinions change towards her friend realising that she is being alienated by the Porto 'society' because of him. Gradually I see myself on the outside of interactions and it is here that i feel my emotions are at the highest most visible state.

I have always enjoyed the devising process, the idea of starting from something small which is then developed to become something with a story, is a fascinating way to get to a finishing point, and to me always seems to be the best way to involve a cast. In Porto I have discovered by letting myself go and letting the situation decide what emotion or physicality should happen i can create a more believable, deeper, more enjoyable character, for me to play and for the audience to watch.

"Ideally preparatory training should be a process of self discovery as well as an opportunity to master skills for the individual"
(Dymphna Callery,pg1,2001)

Bibliography

D.Callery, pg 1,Through the body, published in 2001 by Nick Hern Books.

Oxford English Dictionary (www.wikipedia.com) 'resource' the meaning of.

oxford English dictionary (www.wikipedia.com) 'research' the meaning of.

we are currently working through the R and S stages of research and score.

At the begining of Porto i thought it would be beneficial to research other physical theatre companies to better prepare myself for the process, mainly focusing on the the work of DV8, purely because of their surreal way to show emontion through the body.