Dawn Freeman - 0817312, Blog 2

The piece ‘Four Ways to Speak Out’ has been made of a combination of different devising strategies. These have either been a combined effort of the ensemble, such as the clap method, or more individual methods such as entering yourself into a play session. Either way it has rarely been the case during this process that scripting or conversing on the piece has been needed. In fact it may even hinder the process.
‘Jacques Copeau was the first practitioner to introduce the notion of play to theatre. Copeau searched for a broader, freer, more audacious dramatic imagination’ (Callery, 2001, p95) At first I found it difficult to fully engage in play sessions, this was mainly due to personal inhibitions and a feeling of lack of character. Gradually as the rehearsals developed this opinion changed. I now feel play sessions are most useful and gratifying not only in developing my relationship with individual characters but also in developing a relationship with the ensemble. They are when my characters and my own emotions are most in tune with the piece as I am fully able to express through my own choice of movement.
Robert Lepage created a formulaic description of the devising process, which has been abbreviated to ‘RSVP’ (Resource, Score, Validation, Performance) of which I shall focus mainly upon the resources, ‘the term ‘Resource’ coming out of the tradition of dance theatre/environmental design in which anything can become a resource if the author or performer is able to engage with it’. (Dunderovic, 2003, p54) At the beginning of the creative process each member of the ensemble was asked to bring in items relating to our own character back stories we had produced. These objects have then been selected and involved within the piece. They could be incorporated either how we intended or in different ways depending on other members of the ensembles items and our characters reactions to them. My initial connection was towards a shoe that I had not brought in myself as it was an item of clothing I associated with when I last saw the girl and found in the waste ground.
Since the time of finding the shoe my character has gone through a variety of changes. Different elements of the performance not so much alter my character but change her attitude towards other members of the ensemble. This has been the case right from the moment of finding the shoe right up until recent sessions.
I found finding the element of neutrality key to starting my character development, this is gained through the warm up and through finding a neutral state ‘the neutral state is more than just an alert stillness. It embodies the notion of the empty actor, uncluttered by any attitude or personality trait, open (in the sense of being ‘available’) to creative stimuli.’ (Callery, 2001, p33) The warm up was key to enabling me to release any negative or positive emotions that would affect my concentration. The state of neutrality acquired by this gave me the ability to build on my character from a completely fresh base, free from anything that has been affecting me personally before entering the session.
From my characters initial creation I felt she was a close friend to the missing woman. As we developed the piece and I developed a section not only with one of the representations of the woman but also a moment with the representation of the abusive male my character made further developments. The moment with Naomi’s representation of the women happens in the bar and was key to furthering my characters development. In this section she confides in my character about the rape. My character then attempts support but handles the situation incorrectly, attempting to just get her to ‘freshen up’ and get along with life. Naomi’s character is quite irresponsive to all our efforts to retouch her and bring her back to normal, ‘survivors who suffer with chronic stress, lack of support systems and prior victimization struggle less successfully to resolve their issues. Negative self-esteem often hinders their progress and paralyze their efforts.’ (http://www.aest.org.uk/survivors/rts.html) My character then later in the piece allows the same man who committed the rape in when the rest of the community have pushed him out. Now in addition to feeling a close relationship with the missing woman I also have an overwhelming sense of guilt in this moment. In addition to this for that slight moment the male character and I touch hands I feel the communities disappointment.
Physical theatre is predominantly based around certain moments or gestures that highlight a characters emotions or events that are taken place. ‘In theatre a movement is not a mechanical act but must always be a gesture that is justified’ (Keefe & Murray, 2007, p187). As Keefe and Murray state it is important to ensure these gestures and movements are fitting to the piece and in key with your characters and not incorporated into the piece unnaturally.
My character’s specific movement is fitting with the anxious and uneasy nature of my character. Whilst walking around the space eye contact is generally avoided until completely necessary or with Naomi or Andy’s characters. Even then the eye contact is uncomfortable and unnerving not only for those involved but those watching such moments. As well as avoiding eye contact my character also tugs at her clothes and her shoulders hang quite heavy, this is provoked from an emotion other than nervousness. It is provoked by a sense of shame and remorse for her actions throughout her past. Her friend confided in her and she not only did little to help her but then kept in contact with the very man who made her leave when the other members of the community had shunned him. Upon the realisation of the woman’s disappearance, her actions creep up on her and result in her withdrawing into herself and not really wishing to confide in any other members of the community.
However, she too like the rest of the community wishes to understand further what happened to the woman. In that sense, by continuing the same gestures as the rest of the community in the ensemble sections my character shows she is still in the same position as every other member.



Bibliography:

Callery, D. (2001) Through the Body: A Practical Guide to Physical Theatre. London: Nick Hern Books Limited.

Dunderovic, A (2003) The cinema of Robert Lepage: the poetics of memory. London : Wallflower Press

Keefe, J & S Murray. (2007) Physical Theatres: A Critical Reader. London: Routledge.

Abused Empowered Survive Thrive [Accessed on 19/03/2010) Available at: http://www.aest.org.uk/survivors/rts.html