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Theatre teacher support material 1

Example 9

CollaborativeTheatreProject

StudentB(SLandHL)

CONTENTS

1 Mypersonalcontext

3 Myapproaches

7 Theformationofmygroup

8 Explorationofthestartingpoint

9 Practicalandphysicalexplorations

11 Thedevelopmentofourpiece

14 Specificexplorationsledbyme

15 Finalstructureofthepiece

16 Mycontributiontotheperformance

Example 9


[Typetext] 1

CollaborativeTheatreProject–Processportfolio1. Mypersonalcontext

DuringthetheatrecourseIhavebeeninspiredbysomequitecontrastingtheatreformsandthesehavecertainlycontributedtothedevelopmentofmy“personalcontext”.IamatmystrongestwhenIapproachtheatreworkfromtheperspectiveoftheperformer.Ihaveparticipatedinquiteafewpracticalworkshopsandproductionsintheroleofperformerandthesehavehadquiteaconsiderableimpactonme.Workshops:Metamorphosis(Kafka/Berkoff1969)DuringaphysicaltheatreworkshopwiththetheatreclassIplayedthepartofGregorSamsa,theunfortunateindividualwhoawakesonemorningtofindhimselftransformedintoagiganticinsect.


Example 9

[Typetext] 2

ThisbizarreandintenselyphysicalplayintroducedmetotheworkofdirectorandperformerStevenBerkoff.Berkoff,whowasheavilyinfluencedbyBertoldBrecht,AntoninArtaudandJean‐LouisBarrault(http://www.iainfisher.com).HetrainedattheWebberDouglasAcademyinLondonandlaterunderthemovementandmimeguruJacquesLecoqinParis.MyexperienceofBerkoff’sperformancestyleBerkoff’stheatreprovokesanaudiencebycreatinggrotesqueimagesofcharactersandbyemployingexaggeratedmime,movementandgesture(RobertCross,2004).Ifoundthisparticularstyleoftheatrereallyexciting.WhileIenjoycreatingacharacterandparticipatingin“realistic”drama,Iamquiteaphysicalandenergeticperson,andthedemandsofthisscriptreallypushedmeasanactor.Icertainlywanttoexplorethisaspectofperformanceevenfurtherinthecollaborativetheatreproject.Workshops:TotaltheatreAnotherstyleoftheatre,whichlinksseamlesslytotheworkofBerkoff,istotaltheatre–anideathatallaspectsoftheatre(movement,text,music,visuals)aredeemedequal.Thisworkwasleadbyourteacher,andatfirstinvolvedeachmemberofthegroupcreating“non‐human”objectsandimages.Somakingletters,coathangers,treeswithourbodies,andthendevelopingthisconceptevenfurtherintopracticalobjectsthatcanbemovedormanipulated–linkinggroupmemberstogether.

Example 9


[Typetext] 3

This“physicaltheatre”stylewasthentakenastepfurthertometaphoricaltheatre,whenwebeguntouseourwholebodiesandvoices,togetherwithtechnicaltheatreelements,tolaunchanassaultonthesensesofouraudience.Wereenactedahurricaneinthisway,playingrecordedsoundtracksalongwithintenselightingandamovementsequenceoffranticrunning,jumpingandtwistingalongwithscreamsofterror.Thishadaverystrongimpressiononmeandbegantosparkmyinterestinhowanaudiencecanbeengagedandchallengedbytheatre(Artaud,Thetheatreanditsdouble,2013)2.MyapproachesAsaperformer,Iaminterestedinphysicalperformanceswhichpushmyskillsandrequirestrength,concentrationandintensity.Ienjoyusingmyvoiceindifferentwaysandthechallengeofcreatingsoundeffectsandnon‐languages(asIhadexperimentedduringthetotaltheatrework).Othertheatrestylesthatinterestme: Epictheatre:definedbycleardescription,choralworkandprojectionprovidecommentary.Makinganaudienceawaretheyarewatchingperformance.ParticularlydefinedbyBrecht.

In‐Yer‐Facetheatre:“thekindoftheatrethatgrabstheaudiencebythescruffoftheneckandshakesituntilitgetsthemessage(http://www.inyerface‐theatre.com).CuttingedgedramathatemergedintheUKinthe1990s.


Example 9

[Typetext] 4

IwasborninSweden,andmuchofthetraditionaltheatreinmyhomecountryisconcernedwithnaturalisticplaysbyIbsenandChekov.Ipersonallyfindthisstyleoftheatreratherstale,andIhavefoundthechallengingandvisceralnatureofphysicaltheatreextremelyliberating!Thisdesiretogoagainstnaturalistictheatreledmetodiscovertheworkofprofessionalcollaborativetheatrecompany,Gecko.Thiscompany,firstformedin2001,createsandtoursitsownbrandofphysicaltheatrebothintheUKandinternationally.“Withanexpandingensembleofinternationalperformersandmakers,Geckocreatesworkthroughcollaboration,experimentationandplay”(http://www.geckotheatre.com)Thehighlyphysical,andoftensurrealstyleoftheirperformancesmadethiscompanyparticularlynoteworthyforme,especiallyastheyhaveclearlybeeninfluencedbytheworkofStevenBerkoffandLecoq.AsMermikidesandSmart(2010)noteinthechapteronGeckointheirbook“Devisinginprogress”:“Gecko’sworkhasbeeninfluencedbyLahavandNedjari’sworkwiththeDavidGlassEnsemble.AlongwithStevenBerkoff,alongtimecollaboratorofLahavandNedjari,GlasstrainedunderLecoq.AmajorideawiththeDavidGlassEnsemblethatcanbeseenintheGecko’sworkandtheimportanceofparticipationactivities”(pages165‐185).

Example 9


[Typetext] 5

Thiscollaborativetheatreprojectwill,byitsverynature,relyonparticipatoryactivitiestoensurethatthewholegrouphaveaninput,roleandsenseofownershipofthefinishedpiece.IaminterestedintheprocessthattheGeckoCompany,whichisrelativelysmallcomparedtoothercompaniesofthesamestyle,undergoestocreatetheirwork.

“TheprocessforalltheshowsIhavemadestartsbyallowingtheinitialthoughts,ideasandscenes,characters–whateverthesemightbe–toemerge.Theprocesscantakealongtimeandyouhavetobepatient”(TheGeckoprocess.AmitLahav,Artisticdirector.Source:http://www.geckotheatre.com/wp‐content/uploads/2013/05/Gecko‐Student‐Resources.pdf)TheDavidGlassEnsemblespecialiseinphysicalandvisualtheatre,makingpiecesthatrisk,experiment,innovateandcelebrate(http://www.britishcouncil.org/arts)Methodology:

Geckofocusesontheirpersonalexperiences,relationshipsandemotionalresponsestotheworldfortheirinspiration.GeckoattemptstofollowGlass’idealmethodologyforcreativedevelopment,whichincludefivesteps……Aswithmostdevisedworkcompanies,theyneverconsideranyoftheirproductionstobecompletelyfinished(Ibid,pages165‐185)

Preparation Creativeorigination

Creativeorganization

Manifestation/presentation

Reflection&renewal


Example 9

[Typetext] 6

Becauseofthelongprocess,everythingisaninfluenceinsomeway–somanythingscanimpactontheprocess…Westartwithablankprocess(p.1)

Themainlanguageisnotwords.Languagecomesfromthesameplaceasmovement;itisanemotionalvehicle…itisvisuallanguagethatinterestsme…(p.1)Althoughcollaborative,Amitkeepsaveryclearholdonthefinaldirectionofthepiece.

Theidea–theseedoftheideaisthecatalystfornewideasandimages,andthisunfoldsanddevelops

Investigatingthefirstidea–Thisistestedoutphysically

DevelopmentofnewideasNewideasandimagesareexploredinreactiontothis,musicideasarrivefromphysicaldiscoveries;thesestimulatemorephysicalwork.Earlystructuralanddesignthoughts.Explosionsofideashere!

TestingadraftsequencePuttingtogetherarunorsequenceofideas,possiblywithsomesimpleelementofset.Givingasenseofwhatthe“world”mightbe.Creatingthe“world”

Finaldecisionsabouttheworldofthepiece

It’snotaconventionaltheatreprocesswheresomebodyisintherehearsalroomwithascriptandthentheyaddthelights.Allthevariouselementshappentogether.(p.1)

FirstdraftoftheshowImprovising,choreography,rehearsing,creatingtransitions.Thestoryboardisredraftedcontinually.

WorkingupadraftstoryboardA“flaginthesand”storyboardiscreated.Ideasplacednexttoeachother.Testingthestructure.

Secondandthirddraftsleadtoamodeloftheshow.Neverfinished.

Gecko’sartisticdirector,AmitLahav,clearlyoutlinestheprocessofcollaborativecreationintheGeckoStudentResources,whicharehostedontheirwebsite(http://www.geckotheatre.com/wp‐content/uploads/2013/05/Gecko‐Student‐Resources.pdf)

Example 9


[Typetext] 7

TheformationofmygroupIndiscussingtheformationofourensemble,Iwasveryhappytoidentifyothermembersofmyclasswhowereasexcitedaboutthephysicalandsurrealelementsofperformanceasme,andwhosharedanideaofthepotentialforthisstyleoftheatretohaveanimpactonanaudience.ForthiscollaborativeprojectIwillbeworkingwith: Me(Alex) Carmen:dancer,verygoodatmovement.Wouldliketochoreographsomesequences.

Ele:Verystrongatmime,alsointerestedinmovementsequences.Workingonsoundeffectsorsoundtrackstoaccompanyanymovementisalsoastrength.

Alena:Agoodcharacteractor.Notalotofphysicalexperiencebutverygoodwithhervoice.Excitedbythenonnaturalisticfeaturesofthevoice.Lotsofexperiencein“naturalistic”roles.Willhelpwithfleshingoutalittledepthtoroles.

Wewillbesharingtherolesofdirecting,choreographingandblocking,butaswehavesuchclearstrengthswewillbeallocatingresponsibilitiestospecificsectionstoindividualstolead.Fromtheoutsetofthisprocess,thegrouphadimmediateagreementthatwewantedtocreateanintenseandengagingpieceoftheatrethatwouldresonatewithouraudienceonavisceral(withhowtheyfeelratherthanhowtheythink)level.Averyearlypossibilityasastartpointforuswasmentalillness.Thisthemeispresentinalotoftheworkthatinspiresus–linkedtoArtaud,SarahKaneandBerkoff,butwefeltthiswastoobroad.Innarrowingdownthethemeintocategories,Elesuggestedinsomnia.Thisideaslowlytookholdandweallfeltsecure‐thiswasourstartingpoint.


Example 9

[Typetext] 8

Explorationofthestartingpoint:Insomnia“Whenyouhaveinsomniayou’reneverreallyasleep…andyou’reneverreallyawake.Nothing’sreal.Everything’sfaraway.Everything’sacopyofacopyofacopy”(FightClub,ChuckPalahniuk,1999).Welookedatquiteafewhealthwebsiteswhichtoldusmostpeoplesufferfrominsomniaatsomepointintheirlives.Oneinthreepeoplehaveboutsofinsomniaregularly(sources:http://www.nhs.uk/,http://www.sleep.com).Lifestyleisabiginfluenceronsleeppatterns.“Insomnia”caughtourimaginationsasastartingpointbecauseofthemanydifferentreasonssomeonemighthavefordevelopinginsomniaorbeexperiencingthesymptoms,andthepotentialthesehaveforbeingintenseandengagingforanaudience.PossiblecausesofInsomniaStress Work Money Sex Relationships Identity FamilyDepression Addiction Illness Exams/study ResponsibilityDrugs Fear Technology Isolation Unemployment Lackofpurpose Abuse Troubledpast Food Haunted Tediouslife UnwantedpregnancyFromourmindmapwehighlightedthecausesthatreallyinterestedus.Nextweexploredpossiblesymptoms,andthisiswhereourideasforpracticalexplorations,charactersandscenesreallylitup:

Tiredness

Yawning

Apprehension

Anxiety

Aching

Tension

Twitching

Blurryvision

Changed

appetite

Sweating

Restlessness

Slurredspeech

Bagsundereyes

Shortattentionspan

Clumsiness Listlessness Addictiontocoffee

Addictiontogaming

Crying

Shaking

Shouting

Groaning

Fighting

Selfharm

Example 9


[Typetext] 9

PracticalandPhysicalExplorationsOncewehadsharedourresearchontheapproachesofprofessionalcompanieswhocollaborativelycreateoriginaltheatre,weunanimouslyagreedthatthemosteffectivewayofkickingofftheprocesswastogetpracticalassoonaspossible.Geckotheatrebeginbyphysicallyexploringthefirstidea,sowewoulddothesame!Weimmediatelystartedselectingimagesthatcametomindfromlookingatourmindmaps.Westrungaveryshortsequencetogetherandimprovisedaroundthis(seesequenceabove).Weexperimentedwithwhitesheets‐usingthesenotonlytocoverme(playingtheroleofacharactertossingandturninginbed)butalsotocoverothersinthegroupwhowereusingtheirbodiestoprovidetheoutlineofabed.VeryearlyonintheprocesswecreatedanicemomentwhereIwaswrithingtryingtogettosleepwhiletherestofthegroup–hiddenfromview–providedanocturnalsoundscape,creatingsoundeffectsofdrippingtaps,tickingclocks,mutteredspeechandominousnoises.Thiswouldcertainlybesomethingtoreturnto.

Charactersleepless

Nightmaresinbed

Tryingtowork

Mundanejob

Flashbacktoyouth:Thisisn’thowIthoughtmylifewouldbe!


Example 9

[Typetext] 10

Fromtheseearlyexperimentswewereabletobegintopiecetogetheraroughstructuretoourpieceintheformofanarrative.WeallrealizedfromourresearchthatALLcollaborativecreatorsoftheatremakesignificantalterationsandadditionstotheworkduringtheprocess,butitwasessentialtocommittoaDRAFTstructureagainstwhichwewouldbeabletoconstructourINSOMNIAworld.Lookingbackatmytheatrejournalwewantedourpiecetopresentthefollowing:Ourconcept:Brianisoverworked,depressedwiththetediouslifehehas.Lifeisn’ttheglossymagazinehepredicteditwouldbe!Briancan’tsleep.Heisplaguedbyvisions.Brianisfailingtokeepontopofthingsatwork.Pressureisstackingup.Hehasn’tgottheresourcestocope.Thedepressionatworkismakingthesleepingpatternevenworse.TocopewiththisBriantakessleepingpills.Thesehavestrongadverseeffects–thenightmaresbecomemoresurrealandvivid.Brianeventuallyreceives“medication”tosedatehimandbecomesacloneoftheotherswhoinhabithisworld‐machine‐like,exhaustedandemotionless‐therealityof21stcenturylife!Throughoutthisweseeineffectiveleaders,medicalpractitionersandcolleagues,alllookingoutforthemselves.Brianisavictimofthis,buttakestheblame.VerysimilartoBerkoff’s“TheTrial”(AdaptedfromKafka’s“Thetrial”,1914)

Onecharacter ‐Brian(tobeplayedbyme)Anensemble‐toplayallotherpeopleinthe

‘insomniaworld’andtophysicallycreatetheobjectsandenvironments(tobeplayedbythethreegirls).

Example 9


[Typetext] 11

TargetAudienceTheidealaudienceforourpiecewouldbeschoolleaversandyoungadults.Thehard‐hittinglife“mightnotbeallthatyouareexpectingittobe”messageandthemesofidentity,stressandlackofsenseofpurposewouldhopefullyresonatewiththisagegroup.Intentions Tocreateapieceofintenseandengagingtheatrewhichchallengestheaudiencethroughtheuseofhighlyphysicalandstylizedperformancetechniques.

Topushourselvesasactorstothelimits,tofullyuseourbodiesandvoicestoengagetheaudienceinaslickperformance.

ThecollaborativedevelopmentofourpieceWemutuallyagreedthatourpieceshouldcentrearoundthecentralcharacterof“Brian”veryearlyonintheprocessandthisdecisionseemedtoworkwell.AlenahadtheideathatBrian’sinsomniashouldbeasaresultofhavingdoneeverything“right”inlife,andyetstillfeelinghehasalackoffulfillment.Thisstraight‐Astudenthadsecuredagoodjobasanaccountantbutthegrindandstressoflifewassappinghimofeveryounceofenthusiasmorhopeforescapingthedrudgeryofa9‐5officejob!Weexperimentedwithwaysofillustratingabusyanddemandingofficeenvironmentwithonlyfouractors,whichwasquiteademandingtask.


Example 9

[Typetext] 12

AlthoughCarmentookoverallresponsibilityforthedirectionoftheofficescene,itwasveryimportantforustocollaborateandfeelabletomakesuggestionsorrecommendalterationstoeachscene.Thisbalancewouldbeessentialthroughouttheprocess.Carmenwantedusalltofeelcomfortablemovingourbodiesineachscene,andforustoberelaxedwhenmakingcontactwitheachother.Sheledafewexercisestohelpusdeveloptrustandtobegincreatingstrongphysicalimages.Thisearlyworkcertainlyhadapositiveeffectonthedynamicofthegroupandonourconfidencetoworkpracticallyandphysically.Tobeginthe‘officescene’wewantedtohaveofficeworkerssatdownatdesks,butcertainlydidn’twanttocluttertheperformancespacewithanyunnecessaryitemssuchaschairsortables.Thislinkedparticularlywithourintentionfortheperformancetobeslick.Wedidn’twantblackoutsorsetchangeswhichwouldslowthepaceofthepiece.Thiswouldn’tbehelpfultomakeanengagingpieceiftheaudiencewasconstantlywaitingforsetchanges.PhysicaltheatrecompaniessuchasDV8andCompliciterarelyslowtheirworkwithblackoutsorunnecessaryset.Oneofthecreativeideaswehadfortheofficewastohaveonepersonasthedeskandchair,providingtypingnoisesandoffice‘hub‐bub’onthebackground.Anotherpersonthensitsontheirkneesandmimestyping(usingthefingersofthe“chairperson”asakeyboard)asshowninthesketch.WhatIreallylovedaboutcreatingthisscenewashowquicklywewereabletoaddsmalldetailstothescenetomakeitevenmoreclear:sequencesofnumbers,usingthehandofthe“chair”asatelephonereceiver,etc.

Example 9


[Typetext] 13

Thebeautyofbeingabletomakefurnituresosimplywithourbodies(suchasatableandachairforthedoctor,slidingdoorsforthetrainandthestructureofthebed)wasthattheimagescouldsoquicklyandsimplybeevoked.Theaudiencewouldhaveto“tunein”tobeabletointerprettheseimages,butoncetheywereonboardwiththeconcept,thepaceofthetheatrepiececouldreallypickupandmorealong.Thissequencewasintendedtobearhythmic,fast‐paceddisplayofefficiencyfromBrian’sday‐to‐dayofficejob.Elecreatedasoundtrackofasimpledrumbeat,clackingtypewritersandtelephonenoisestoaccompanytheactionusingGarageBand.Thisaddedlayerofsoundandclearrhythmgaveanaddeddimensiontothehuman‐madesoundeffectsweweremakinglive.IntermingledwiththisofficeenvironmentwealsothoughtitwasimportanttoshowthecharacterofBrianandgiveaninsighttohispastasa“perfect”studentandyoungmanfilledwithaspirationsandpotential.Wedecidedtoinsertabriefsceneintotheactionveryearlyon–amonologueframedasBrian’svaledictorianspeechathishigh‐schoolgraduationceremony–centredaroundtheconceptof‘beingsomething’–whichwouldclearlybeironicwhentheaudiencefullygraspshiscurrentdepressionandlackofselffulfillment.ThisisanearlydraftofmymonologueasBrianMyfellowgraduates,itisanhonourtobestandingbesideyoutoday,aswereadyourselvestotakethenextstepintolife.Westandherehavingreachedourfullpotential.Andnowit’stimeforustodosomethingwiththatpotential.Tobesomething.Whateveryoudo,doitwithintegrity.Makeitcount.


Example 9

[Typetext] 14

Specificexplorationsledbyme“TheNightmare”Havingresearchedintototaltheatreandthein‐yer‐facestyleofperformance,Iwasparticularlyinterestedindirectingthegroupforthe“nightmare”sequence.Afteravisittothemedicalpractitioner,Brianisprescribeddrugstosettlehisnervesandsendhimtosleep.Alena’sresearchintomedicationforinsomniaindicatedthatsomeofthedrugscancausehallucinationsandnightmares.Thiswasperfectfortheshockingandchallengingfeatureswewerehopingfor.Wepurchasedsomeboxesofsmallmintswhichwouldworkefficientlyonstageas“pills”.Idirectedthegirlstofranticallywrithearoundtryingtosleep,showingtheaudiencemorethanjustthecentralcharacterofBrian.ThemomentBriandecidestotakeoneofthetablets,Idirectedthegirlstofreeze,creatingacontrasttothefranticmovementandtobuildtensionasIshakeoutahandfulofpillsandswallowthem.OnceIhadswallowedthepillsthefourofuscoveredourselvesupunderthewhitesheet(whichhadbeenusedtodelineatethestagespace).Atthismoment,Idirectedthegirlstobeginloudbreathingsounds,exhalingandbegintorepeatBrian’snameagainandagainasI(asBrian)begantwitchingandclearlyfallingintothedream.Ilaterdirectedthegirlstodothiswiththesheetsovertheirfaces,whichmadethemmoreghost‐likeandbizarrewhentheyfinallysatup.Wecarriedoutafewexperimentstoseejusthowshockingandintensewecouldgetwiththenightmarewithoutmakingthescenecomicalorunbelievable.Weexperimentedwiththegirlsmovingtowardsmelikeharpiesandwrappingmeinthesheets,bindingme,andactuallycreatinganoosewithoneofthesheetsandbeginningtostrangleme‐symbolicofBrian’srestrictiveandunfulfilledlife.IthendecidedtorepeatmymonologuefromearlierinthepiecetofullyillustrateBrian’sstruggleandinnertorments.WithasinisterandsurrealsoundtrackcreatedbyEleonGarageBand,thissequencebecamereallyeffectiveinfulfillingourintentions.

Example 9


[Typetext] 15

Makeup:white,bleachedfaces,darkheavybagsundereyes.Messy“bedhair”.

Costumes:acrossbetweenpyjamasandasylumclothes.Needtobeabletomove.¾lengthtrousers.

Setandlighting:studiospace,audienceonthreesides.Simplewhitebrightlighting.Stark.Whitesheets.

Storyboard–Finalstructureofthepiece1. Stagemarkedwithfoldedwhitesheets.Studioperformance.2. Busyofficescene,non‐stopnoiseandhardwork.3. Brian’smonologue.Previouslifeleavinghim.“Besomething”.4. Backinwork,busysequence.Brianbecomesoverwhelmed.Breakdownalarms.

“Youareacog!”5. Brianiscalledtoseehisboss.Heisfailing.Instructedtosorthimselforfindanotherjob.Briantriestoexplain.Ignored.

6. Briandecidestoseekhelpfromamedicalpractitioner.7. Thedoctor’ssurgery.ThedoctormocksBrian.Heisprescribedmedication.

8. Brianreturnshomeonatrain,withothers.Allreadingsideeffectslabel.

9. Brianathome.Apartmentblock.Allresidentsstruggletosleep.

10. Monologuesfromeachperson–blendedovereachother.“Mysymptoms”.

11. Thenoiseistoomuch.Briantakesatablet.Sleep.12. TheNightmare.Brianishallucinating;heisattackedbyvisionsofhislifeandhispast.

13. Whatiswrongwithme?Outburst.Everythingstops.14. Allbecomeinmatesinanasylum–warningbell‐allimmediatelytidyandawaitinspection.

15. Thedoctor.Medicalpractitionerinspectsinmates.Brianpleads:“Ishouldn’tbehere!”

16. Allgivenpills.Sedated.Brianisincarcerated.17. Brian’sfinalwords‐reiteratesopeningmonologue.“Doitwithintegrity”.Hetakesanotherpill.Blackout.


Example 9

[Typetext] 16

MycontributiontotheperformanceThroughoutthepreparationprocessIfeltthatIcontributedsignificantlyandeffectivelytothedevelopmentofourpiece,bothasaperformerandafellowcollaborator,attemptingtofairlybalancemycreativeinputandmysupportive,responsiveandpliableroleasamemberoftheensemble.ThissuccessfullysupportedmycontributiontothefinalperformanceinthesensethatIhaddevelopedapositive,openandresponsiverelationshipwithmyfellowgroupmembers,whichenabledustofeelsafeandsupportedduringtheliveperformance,aswellasfeelingthatIhadcredibleownershipovermyshareofthepiece,whichItrulyfeelhelpedmakeuseachmoreassertive,committedandpassionateasperformers.MyrolerequiredmetoplaythecharacterofBrianthroughoutthepiece,andtousemyphysicalandvocalskillstocommunicateagrowingsenseofdesperation,completeandutterexhaustion,afixedandfrozenstatewhenotherswerethefocusofattentionandstrongandsupplemovementstotransitionbetweenscenes.Iwasalsorequiredtocontrastthiswithaflashbacktomycharacterinhisyoungerdays,freshfaced,fullofenthusiasm,energyandpassion.Iwasrequiredtomanipulatemyskillsandsustaineachofthesecharacteristicsatgivenpointsthroughoutmyperformance.IbelieveIwasabletoshowthesecharacteristicsbyadaptingmyvoice:theslow,slurredandheavyspeechofaninsomniac,thequick,highpitchedrantofadesperateman,spittingeverysyllable,andthepained,anguishedBrianofthenightmarescene,findingalow,harshtoneasIwailmyspeechasthegirlsslowlybegintostrangleme.Icommunicatedthesescenesthroughtheuseofmybodyandmyposture,contrastingthebouncy,energeticandyouthfulBrianofthepastwithhunched,aching,heavy‐footedandslowpacedcharacterwhowasdesperateforsleep.Eyecontactisessentialfor“truthful”performances,Ibelieve,andIwassuretofixmyeyesinastaring,blankexpressionwhencreatingfrozenphysicalobjects,topleadwithmyeyespinnedsharplyonthecharactersofmybossandthemedicalpractitioner,andtoengagefacetofacewithseatedaudiencemembersforthesequencesofnarrationorpleading.Ibelievetheseactionsenabledtheaudiencetoengagemoredeeplywithmyperformanceandassistedthegroupinoursharedintentions.

Example 9


[Typetext] 17

Ibelievethatthevideoclipsofourperformanceevidencetheseskillseffectively.Ihaveselectedtheopeningscenes,fromtheofficeenvironmentandtheintroductionofBrian,whichleadsintoBrian’sbreakdown.This,Ifeel,evidenceshowweattemptedtomakethepieceslick,withtheswiftandfluidmovementbetweenscenes,andengaging.Iamparticularlyimpressedwithhowwellourskillsappeartobeevenly‘pitched’intheperformance.Somethingwespentagreatdealoftimeon,givingtheaudienceasenseofusasaunited,polishedandcollaborativegroupofstorytellers.Ibelievethissceneusesmusic,movement,soundeffects(verbal)andactiontoengagetheaudienceeffectively.ThesecondsceneIhaveselectedfromthewholevideorecordingisthescenethatIpersonallyled,theNightmarescene.HereIbelievetherecordingdemonstrateshowwecontrastedsilence,recordedsound,stillnessandactiontobuildthesenseofthenightmarelooming.Thesoundofthegirlslaughingastheyleaponmewiththewhitematerial,andthestrikingimageofthenoosearoundmyneckandthemedicationbeingtippedovermecontributeswelltoashockingandtroublingscene,hopefullymakingtheaudiencequestionifthesurrealeventstheyarewitnessingarerealorimaginedbythecharacterofBrian.Iamveryproudofhowthesetwomomentsshowusunitedandfocusedasagroupandhowtheyhopefullygiveaflavorofthetotaltheatreandhighlyphysical/stylizedpieceoftheatrewewereaspiringtocreate.Wewereencouragedbyourteachertoreflectinourtheatrejournalswhatwewouldeachdodifferentlyifweweretogothroughthisprocessagain.Iamquiteconfidentthatasagroupwewouldhaveaimedtocreateapieceoftheatrelikethisagain,butwouldcertainlyhavebenefittedfrommoretime,particularlyworkinginthechosenandperformancespace.IfeltthatEledidafantasticjobwiththesoundtrack,butagainmoretimewiththisbeforetheperformancedaywouldhavemeantwecouldhavesortedthesoundlevelsmore(sometimestooloud,otherstooquiet)andalsobemoreconfidentaboutwhensectionsstartedorstopped.OtherwiseIwasutterlydelightedwithwhatwecreated.

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