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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Wednesday, 1 April 2009
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
Monday, 30 March 2009
Blog Task 3 - Luke Manley 0705972
[1] In order to talk about the ‘R’ (research/resource) and the ‘S’ (score) when creating Porto, we must firstly identify the meaning of them, when relating them to devising.
“Research - Organized study: methodical investigation into a subject in order to discover facts, to establish or revise a theory, or to develop a plan of action based on the facts discovered.“
“Resource - 5. Talent drawn on when necessary: an inner ability or capacity that is drawn on in time of need, or such abilities considered collectively.”
Before undertaking a position in Porto I found in necessary to research the origins of physical theatre and elements of dance theatre, in order to broaden my knowledge and understanding of the subject, which helped me to take a serious role and undertake an emotional roll as I knew I would be giving 100% effort.
With resource I was able to undertake much more difficult physical movements then I had previously been thought I would be able to carry out, using elements of dance to help create certain movements, and finding myself creating a narrative for certain segments during the early creative stages of Porto.
“Source - 8. copy of choreographic notation: a written record of the choreography for a dance or ballet.”
Although actual written notes were not taken on my characters movements for Porto, I did however make mental physical notes on them, which allowed my body memory to repeated the movements I had previously done again and again, with some slight movements, due to my character being in a different frame of mind on that certain day.
[2] As Porto is progressing i personally cant see any narrative within the piece, as it’s all been developed through uses of play and instinct, each person has gone into Porto stripped of any knowledge of what is happening. I personally don’t think the performers have crated a narrative for Porto, but from the outside eye, Porto could be seen as having a narrative, but that is clearly up to an audience members perception of Porto and what they want to get out of it.
There can be some elements of narrative in Porto through the use of the performers interaction with one and another, which may or may not tell different audience members a different story. For example my relationship with someone else in Porto could be a very loving and caring relationship, but because of the way it may be presented another audience member may see this relationship as being detached and unwanted by the other.
As for structure within Porto, I do feel a sense of it here as we have a strong beginning, with a very powerful opening ensemble, which shows practices and structure to the piece. As for having structure in Porto I don’t think there is any evident evidence to the audience of structure as it seems to be natural and flowing, as if the characters are brining Porto to life as it progresses.
[3] Through out my personal process of Porto I feel that my character has developed emotionally ahead of physically. Although my character does have a physical presence in Porto, I feel that because I am too emotionally in touch with my character, I am finding it hard to explore and develop new physical skills and even go back to explore previous physical techniques learnt through out the process in Porto. Maybe if I was to become a little more emotionally detached from my character it would help to me progress physically?
“The inner necessity determines the quality of the energy …”
The above quote relates to my character immensely. As the character himself, is shy, timid, embarrassed, lost ECT. But it is me personally who wants him to be more physical, I would like him to break away from his natural side and use the skills I have learnt, but within doing his, I wouldn’t be staying true to the character, I would be doing movements for just wanting to do them.
So throughout the process of Porto so far my character has developed emotionally immensely, but has not developed as physically as I had previously hoped. But each show is going to be different, and depending on the atmosphere, circumstances may change for my character.
Bibliography
[1] Bausch, P - The grain of the voice
[2] Barba, P - Words of presence
[3] Sa’nchez-Colberg, A - Altered states and su’bliminal spaces
[4] Microsoft Word dictionary look up - 20/03/09
[5] www.dv8.co.uk
“Research - Organized study: methodical investigation into a subject in order to discover facts, to establish or revise a theory, or to develop a plan of action based on the facts discovered.“
“Resource - 5. Talent drawn on when necessary: an inner ability or capacity that is drawn on in time of need, or such abilities considered collectively.”
Before undertaking a position in Porto I found in necessary to research the origins of physical theatre and elements of dance theatre, in order to broaden my knowledge and understanding of the subject, which helped me to take a serious role and undertake an emotional roll as I knew I would be giving 100% effort.
With resource I was able to undertake much more difficult physical movements then I had previously been thought I would be able to carry out, using elements of dance to help create certain movements, and finding myself creating a narrative for certain segments during the early creative stages of Porto.
“Source - 8. copy of choreographic notation: a written record of the choreography for a dance or ballet.”
Although actual written notes were not taken on my characters movements for Porto, I did however make mental physical notes on them, which allowed my body memory to repeated the movements I had previously done again and again, with some slight movements, due to my character being in a different frame of mind on that certain day.
[2] As Porto is progressing i personally cant see any narrative within the piece, as it’s all been developed through uses of play and instinct, each person has gone into Porto stripped of any knowledge of what is happening. I personally don’t think the performers have crated a narrative for Porto, but from the outside eye, Porto could be seen as having a narrative, but that is clearly up to an audience members perception of Porto and what they want to get out of it.
There can be some elements of narrative in Porto through the use of the performers interaction with one and another, which may or may not tell different audience members a different story. For example my relationship with someone else in Porto could be a very loving and caring relationship, but because of the way it may be presented another audience member may see this relationship as being detached and unwanted by the other.
As for structure within Porto, I do feel a sense of it here as we have a strong beginning, with a very powerful opening ensemble, which shows practices and structure to the piece. As for having structure in Porto I don’t think there is any evident evidence to the audience of structure as it seems to be natural and flowing, as if the characters are brining Porto to life as it progresses.
[3] Through out my personal process of Porto I feel that my character has developed emotionally ahead of physically. Although my character does have a physical presence in Porto, I feel that because I am too emotionally in touch with my character, I am finding it hard to explore and develop new physical skills and even go back to explore previous physical techniques learnt through out the process in Porto. Maybe if I was to become a little more emotionally detached from my character it would help to me progress physically?
“The inner necessity determines the quality of the energy …”
The above quote relates to my character immensely. As the character himself, is shy, timid, embarrassed, lost ECT. But it is me personally who wants him to be more physical, I would like him to break away from his natural side and use the skills I have learnt, but within doing his, I wouldn’t be staying true to the character, I would be doing movements for just wanting to do them.
So throughout the process of Porto so far my character has developed emotionally immensely, but has not developed as physically as I had previously hoped. But each show is going to be different, and depending on the atmosphere, circumstances may change for my character.
Bibliography
[1] Bausch, P - The grain of the voice
[2] Barba, P - Words of presence
[3] Sa’nchez-Colberg, A - Altered states and su’bliminal spaces
[4] Microsoft Word dictionary look up - 20/03/09
[5] www.dv8.co.uk
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)
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)
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.
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.
(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.
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.
Monday, 16 March 2009
Blog Post 3
Deadline: Wednesday, 1st April 2009, 5 pm
- There are 3 questions you need to answer as part of this task.
- The questions relate to the ‘R’ and ‘S’ phases of Porto’s development in 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. Critically reflect on how the ‘R’ (research/resource) phase of devising has moved onto the ‘S’ (score) phase of devising in the creative journey of Porto.
You might need to briefly establish what is meant by ‘research/resource’ and ‘score’ within the devising process before you discuss its place within Porto’s development. (200 words)
2. As Porto is starting to be scored, discuss if there is any structure or narrative that is beginning to emerge through it. Give reasons for your answer. (200 words)
3. Discuss your own character’s transition from the ‘R’ phase to the ‘S’ phase of devising Porto. How has it grown, adjusted and become more tangible (physically and emotionally) through the progress of the devising process? (200 words
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