Hannah Page.

Task 3.

1.) When beginning the process of devising for Porto we were introduced to the RSVP model of working. Within this model the R stands for research/resource, the S for score, the V for validate and the P for performance.
During the devising process so far we have worked through the R and S phases of the model. The R phase being when the process starts off with an idea or a movement and the performers explore this notion, adapting it and experimenting with it. This is then moved onto the score where the material devised in the R phase is shaped and refined and put into context so it fits smoothly into the performance.
When moving into the score phase of the devising process the performers have refined their work by using play to find ways of connecting already refined pieces smoothly so it doesn’t look like they are moving onto another section of devised work with no motives.
In the score phase we have also started to add music to the pieces to add more depth to the movements on stage. This is done during the scoring so that the performers do not just move to the music instead of an impulse, like they do in the original devising process.

2.) As Porto is developing into the Score stage of the devising process it is apparent that narratives are forming in small sub-groups as well as in the main focus of a piece. These narratives may not always be clear to the ensemble because the pieces were created in a non linear manner and then connected together at a later date, but to an audience member watching the piece they will see a narrative because they “want to get to know your characters as well as they know their own friends, their own family.” (Scott Card, 1988,). a clear dialogue is apparent between characters and situations. For example, I am in the ‘photo section’ of the performance and our piece was created outside of the ensemble pieces and when we created it we had no sense of where to fit it in, but as we moved onto the score stage we decided to separate ourselves during one of the ensemble pieces to show that our group was somehow connected and we were all doing the same actions. This repetition slowly fades as we fit back into the ensemble but is brought back at a later stage to fit in with our ‘photo section’ these simple movements at two different stages produce an inner monologue of similarities between strangers.


3.) My character at the beginning of the devising process was a shy character who wanted to be left alone. I remember at the beginning of the process my character would stay away from every other character in the piece. Throughout the devising process however my character was met by many impulses to interact with other characters, and I went with these impulses despite my characters shy characteristics. This made me think that if my character can get swept along through impulses to interact then maybe it isn’t a shy character at all.
“If readers don’t care about (or at least feel interested in) a story’s character, they likely won’t care what happens to them.” (Valerie Bodden, 2008) This quote made me also think about the fact that if my character was a shy one that sticks to the sides then their would be no monologue because the audience wouldn’t care. Although this wasn’t the main reason for my character change it helped me to progress my character from the R stage to the S where she went from shy, to a character that wants to be liked by everyone. She is not as outgoing or as comfortable as the others but she wants to be. During the scoring phase of an ensemble piece a key moment for my character sticks out where she tries to befriend a mean character. The rejection strikes my character as strange, yet she doesn’t give up and starts to copy this character to get her acceptance.

Bibliography.

BODDEN, V. 2008. Creating a Character: Dialogue and Characterization. The Creative Company

Callery, D. (2001): Through the Body, London. Routledge

Scott Card, O.(1988) Characters & Viewpoint. United States of America: Writer’s Digest Books.