Deadline: Friday, 15th May 2009, 5 pmWord Count: 1200 words ( 300 + 400 + 500 words)
There are 3 questions you need to respond to
The questions this time are mostly reflective, however should still be analytical and not descriptive academic writing
Wider independent research, particularly from physical theatre practitioners via company websites should be used to support your opinions
Present your writing in academic language with Harvard Referencing and a bibliography
presented alphabetically at the end of your post
PLEASE TYPE YOUR FULL NAME IN THE POST TITLE
Questions:1. As the creative process turned from the 'V' stage to the 'P' stage of devising, and Porto started to come together as one cohesive performance, what were the common themes and issues that were beginning to emerge through the basic fabric of the piece? Despite the individual journeys, what shared experiences tied the community together apart from their state of liminality? Discuss with clear and succinct examples. (300 words)
2. Critically evaluate the transition of Porto as the ensemble moved from the studio into the theatre space. What were the strengths and weaknesses of this phase and process? (400 words)
3. Critically evaluate the growth of the performance over the three shows, with particular emphasis on your own role within the piece. Did the RSVP model continue to apply even at this final stage of the performance piece? Discuss with concrete examples. (500 words)
Thursday 30 April 2009
Wednesday 1 April 2009
blog 3
1) In the process of starting and creating the performance of Porto, the use of RSVP was put into place. RSVP is a model of devising created by Halprins’s, this was put into place to explore different elements and approaches to the performance. The R and S phrase in the devising process are very important and make a performance. A detailed study of a subject, especially in order to discover (new) information or reach a (new) understanding. (Cambridge Dictionaries Online Cambridge University Press 2003)The R phase is the research/resource phrase, this is vital in any performance. It can be a stage of experimenting and exploring a certain phrase. In the First few weeks of play sessions we explored different ways which we could move through the use of the body and express ourselves through physical movements. Scoring phase is a refinement of material that is created in the research phrase. Characters in the scoring phrase understand why they are moving and emotional connect to there character and find a reason to move and have purpose.
2)Porto is now in its stages of scoring the performance and is close to its finally performance. When creating Porto there has always oneelement that created the structure of the performance. Structure in Porto was created through the use of bags and based on the knowledge we have left everything behind and was in an unknown place . Without the use of the bags and its content throughout the performance I think there would be no purpose and meaning. Our bags in Porto makes us who we are and particular what it contains inside them, our one item that defines us. All material created throughout Porto in some way or another has related to our items and bags we carry.
Different sections throughout Porto have related to who we are and what our item represents to us. We interact with similar people with same physicality and emotional status within Porto. In the big ensembles, I feel these are structured and link the whole performance together and reminds us where we are and why we are stuck in Porto.
3)My character in Porto has defiantly developed in many ways from the character she was during the research phrase. When my character arrived in Porto her character is lost and was looking back for that certain something or someone. During the research process I was quite strict with my self with the characteristics I wanted my character to have. As time has gone on through the research phrase I have felt my character needed more depth and background to her. My character to me is very hard to play, reasons being her personality being completely different to mine. I still feel that my character is still developing and has not yet been fully developed to its full potential . Every new session where I play my character, I am still finding new things out about her and she still surprises me. I feel my character is becoming stronger, this was not my intention but I like where my character is going through this journey. Characteristics such as being lost alone unapproachable and unsociable are elements still present in my character but new ones are now emerging in to her personality. Elements such as being nosey, wanting to reach out for people and wanting connections with different people but then still withdraws herself.
Bibliography
Halprin, L The RSVP Cycles G. Braziller 1970
http://www.webs.uidaho.edu/info_literacy/modules/module2/2_1.htm (accessed April 1st 1pm )
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2)Porto is now in its stages of scoring the performance and is close to its finally performance. When creating Porto there has always oneelement that created the structure of the performance. Structure in Porto was created through the use of bags and based on the knowledge we have left everything behind and was in an unknown place . Without the use of the bags and its content throughout the performance I think there would be no purpose and meaning. Our bags in Porto makes us who we are and particular what it contains inside them, our one item that defines us. All material created throughout Porto in some way or another has related to our items and bags we carry.
Different sections throughout Porto have related to who we are and what our item represents to us. We interact with similar people with same physicality and emotional status within Porto. In the big ensembles, I feel these are structured and link the whole performance together and reminds us where we are and why we are stuck in Porto.
3)My character in Porto has defiantly developed in many ways from the character she was during the research phrase. When my character arrived in Porto her character is lost and was looking back for that certain something or someone. During the research process I was quite strict with my self with the characteristics I wanted my character to have. As time has gone on through the research phrase I have felt my character needed more depth and background to her. My character to me is very hard to play, reasons being her personality being completely different to mine. I still feel that my character is still developing and has not yet been fully developed to its full potential . Every new session where I play my character, I am still finding new things out about her and she still surprises me. I feel my character is becoming stronger, this was not my intention but I like where my character is going through this journey. Characteristics such as being lost alone unapproachable and unsociable are elements still present in my character but new ones are now emerging in to her personality. Elements such as being nosey, wanting to reach out for people and wanting connections with different people but then still withdraws herself.
Bibliography
Halprin, L The RSVP Cycles G. Braziller 1970
http://www.webs.uidaho.edu/info_literacy/modules/module2/2_1.htm (accessed April 1st 1pm )
u
Task 3- Emilia Breadon
1) During the process of Porto we have been using the RSVP model as a structure of understanding to the piece, with the ‘R’ section this being our Research/Resource; our main task was to research our individual characters, trying to connect with the characters emotions as well as our physical movements to grasp the full understanding of how our characters personalities are, learning new things about our characters as the process continues.
‘List Pisk, in her very personal book, has said that ‘... the shape of your body is the outer boundary of inner contents.’ In order to achieve this, the actor’s character must be well defined both in thought and physicality. Otherwise he will rely on generalities and simply not be credible.’(Dennis 2004:24)
Since we moved onto the ‘S’ (score) section adding music to several pieces, I feel that it really enables you to connect with the ‘scene’ and develop an emotional attachment to the piece and it music as music can influence your feeling and emotions. However disconnecting your character from the music can be difficult and staying focused on your character and your characters feelings. When you can disconnect from the music and the influenced feelings it creates such an atmosphere, especially in the ensemble moments where we are all together but still keeping our own characters. So the music connects us however because we do movements to it in character it creates this ambience.
2) Now that we are at the score stage of Porto there is a narrative occurring not so much as a whole but more so in individual groups and with our individual characters. The journey that we have all been on so far with our characters is a story itself and could also be seen as a structure as we have all learnt the boundaries and difficulties some have with other interactions yet we always return to the liminality.
'The liminal state is characterised by ambiguity, openness, and indeterminacy. One's sense of identity dissolves to some extent, bringing about disorientation' [http://en.wikipedia.org/wiki/Liminality]
Now that most of us have made a connection and are starting to play with these connections allowing them to develop we are creating small stories. As an ensemble we have created a beginning and this allows us to see how the narrative of Porto is going to emerge. Porto is still being developed and so I think there will not really be a proper narrative for Porto until we have finished the devising process and perform the piece in chronological order.
3)my characters development from the ‘R’ stage to ‘S’ has come a long way because my character at first was such a shy character that she felt she did not want to acknowledged by anyone and that she felt it was not right for her to move and express her feelings in a physical manner, as time has gone and we have developed more ‘scenes’ my character now can interact with others if she feels and does have the confidence to use physical movements, an example of this is the piece I do with Dan we developed this through ‘play’ and then keeping the parts we felt right for our characters, in one part my character is pushed away by Dan but because she wants the interaction and sense of security from him, I felt the urge to run and jump on him to see how his character would react, which at the beginning stages of devising Porto my character would never had the confidence. I would not say that my character has changed but simply developed because there are still times when she is very timid and does not want to be as big and open characters like some around her.
Bibliography:
Dennis A.(2004)The Articulate Body.Great Britain:Biddles Ltd
http://en.wikipedia.org/wiki/Liminality 01/04/09
‘List Pisk, in her very personal book, has said that ‘... the shape of your body is the outer boundary of inner contents.’ In order to achieve this, the actor’s character must be well defined both in thought and physicality. Otherwise he will rely on generalities and simply not be credible.’(Dennis 2004:24)
Since we moved onto the ‘S’ (score) section adding music to several pieces, I feel that it really enables you to connect with the ‘scene’ and develop an emotional attachment to the piece and it music as music can influence your feeling and emotions. However disconnecting your character from the music can be difficult and staying focused on your character and your characters feelings. When you can disconnect from the music and the influenced feelings it creates such an atmosphere, especially in the ensemble moments where we are all together but still keeping our own characters. So the music connects us however because we do movements to it in character it creates this ambience.
2) Now that we are at the score stage of Porto there is a narrative occurring not so much as a whole but more so in individual groups and with our individual characters. The journey that we have all been on so far with our characters is a story itself and could also be seen as a structure as we have all learnt the boundaries and difficulties some have with other interactions yet we always return to the liminality.
'The liminal state is characterised by ambiguity, openness, and indeterminacy. One's sense of identity dissolves to some extent, bringing about disorientation' [http://en.wikipedia.org/wiki/Liminality]
Now that most of us have made a connection and are starting to play with these connections allowing them to develop we are creating small stories. As an ensemble we have created a beginning and this allows us to see how the narrative of Porto is going to emerge. Porto is still being developed and so I think there will not really be a proper narrative for Porto until we have finished the devising process and perform the piece in chronological order.
3)my characters development from the ‘R’ stage to ‘S’ has come a long way because my character at first was such a shy character that she felt she did not want to acknowledged by anyone and that she felt it was not right for her to move and express her feelings in a physical manner, as time has gone and we have developed more ‘scenes’ my character now can interact with others if she feels and does have the confidence to use physical movements, an example of this is the piece I do with Dan we developed this through ‘play’ and then keeping the parts we felt right for our characters, in one part my character is pushed away by Dan but because she wants the interaction and sense of security from him, I felt the urge to run and jump on him to see how his character would react, which at the beginning stages of devising Porto my character would never had the confidence. I would not say that my character has changed but simply developed because there are still times when she is very timid and does not want to be as big and open characters like some around her.
Bibliography:
Dennis A.(2004)The Articulate Body.Great Britain:Biddles Ltd
http://en.wikipedia.org/wiki/Liminality 01/04/09
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