Michaela Lloyd 0709448 Blog Post 3

1. In the creative journey of Porto we have been using Halprin’s RSVP model of devising- a four-stage cycle that aids the creation of performance. The initial ’R’ stage is the ‘Resource/Research’ phase by where both human physical and material resources and their potential motivations are called upon to create a base that will enrich the creative process. During this stage the ‘resource’ is explored to discover its potential performance possibilities before the ‘S’ stage of the model begins- ‘Scoring’. Bennet has employed the RSVP model with his own work and describes the Scoring stage as ‘ a theatrical development of image, characters, action [and] theme’ [www.puppetcentre.org.uk]. Essentially the Scoring stage refines the work developed during the Resource stage of Halprin’s model.

Initially we used the resources of our bodies and their relationship with other characters in the cast. This created our base for Porto that was refined with the help of Paul and Royona as our ‘outside eyes’, who could see the performance possibilities. They layered scenarios such as members on a train exploring the space restrictions that occur on top of our existing characters. This was the beginning of the Scoring of Porto. The piece is now beginning to take shape as our characters further develop through play sessions and exploration of this new theatrical development, the scenario that evolved through exploration of the initial resource- the body.

2.As Porto follows Halprin’s model a structure is beginning to emerge steadily. Porto itself has been described as paying ‘homage to the physical-theatre genre’ [http://www.arena.wlv.ac.uk]. As such, it is evident that the piece utilises the body as a signifier. According to Marshall, ‘The body is the direct point of connection between our inner self and the outer world’ (Marshall 2001 p xii) and that though our mind may be involved, it is our body that ‘lives our life’ and is the ‘sole mediator of human experience’ (Marshall 2001 p xii). With Porto now being scored, the bodies within the community have begun to take on much more than actions. They now have a connection with one another and have consequently begun to live a life within Porto. This has resulted in relationships emerging through the scoring phase and the creation of a narrative as these relationships develop and coincide with other characters. The complicite between the cast has concluded which characters want to socialise, want to fight or want to spend time together. The body continues to act as a mediator for human experience creating a stepping-stone for structure and narrative to be determined as the lives of each individual character strengthen in their own mission and their relationships with others in the on-stage world of Porto.

3.As Oddey explains, 'the research material formed the basis for an examination of the subject' (Oddey 1996 p xii). The Resource/Research phase of the process resulted in my character developing stock gestures and basic characterisation. She also had a core motivation within Porto: to find somebody or something that can settle her and keep her grounded. This was my basis for development and refinement of my character that is occurring within the Scoring phase of the process. Chekhov teaches that the more a gesture is repeated, the stronger the performers willpower grows and the greater depth a character is able to achieve. He also states that a performing space '...is an entire world permeated with an atmosphere so strong, so magnetic that [the performer] can hardly bear to part with it' (Chekhov 2007 p 41). As the process has developed the performance-space of Porto has evolved to evoke an atmosphere that immediately impacts every character that enters the space. As scenarios and situations have developed within the scoring phase my character has also developed.

When I enter Porto, the stock gestures I discovered within the Resource/Research phase of the model are no longer merely actions. They are carried out with motives and intent and I feel an emotional connection with every gesture I conduct. The space itself now impinges on my character as the intent and emotions of others within Porto exude adding to the atmosphere, as though each character is breathing life into this space that had previously been nothing more than a blank canvas. My character now acknowledges these other people and has begun to respond and react to their motivation and their purpose. She is more aware of those around her than her initial intent.


Bibliography:

Chekhov, M To The Actor On The Technique Of Acting London: Routledge 2007

Dundjerovic, A The Theatricality of Robert Lepage McGill-Queen's University Press 2007

Halprin, L The RSVP Cycles G. Braziller 1970

LeCoq, J Theatre Of Movement And Gesture London: Routledge 2006

Marshall, L The Body Speaks: Performance and Expression Methuen 2001

Oddey, A Devising Theatre: A Practical And Theoretical Handbook London: Routledge 1996

http://www.arena.wlv.ac.uk/Porto.htm (accessed 26th March 2009 13.00)

http://www.puppetcentre.org.uk/animationsonline/aonineteen/playprocessproduct.html (accessed 26th March 2009 13.40)

http://redseven.wordpress.com/rsvp-cycles-lawrence-halprin/ (accessed 26th March 2009 13.51)