As we are self directing the play, I wanted to make sure that the movements created were constantly bringing the true meaning of the subtext forward. This is because the language that Berkoff uses is very poetic, and although is very interesting - we want the audience to understand the feelings of the characters, if not by vocal, by actions.
We started to play around with the idea that if Ciara (suppressive emotion) starts behind the confident being, it shows that the knowledge of this man observing the woman brings out the shyness, so we started by allowing Ciara to lunge out behind me showing this. As we do not make contact with the boys until the second page, we decided it would be best to create the movements as two separate duality pieces. Therefore the boys choreographed movement that suited them, and me and Ciara did the same. This allowed us to focus on our emotions and reactions rather than bouncing of the boys actions.
For most of the first page we stay sat on the bench, this shows how we feel the man should be the one to initiate the conversation. This is supported by when Ciara pushes my face after I say 'turn around' as she's telling me to be patient. This makes it clear to the audience that the feeling between both man and woman of wanting to talk is mutual and produces slight humour as the shy sides of each character restricts progression of interaction.
On 'poor beast' Ciara slaps the top of my head. This can show how I am beating myself up in the head about what he actually is. This also presents very clearly to the audience within the first page that me and Ciara are very conflicting emotions of the same person.
On 'he wants to' - I walk my fingers along Ciara's leg to show want the sexualised thoughts the woman is having. Ciara then cuts of this thought by lifting my hand and putting it over my mouth and saying 'talk', creating humour as the cut of is clearly the battle of the characteristics and their thoughts of what the man should be thinking. It also sets a tone for the play because there are a lot of sexual innuendo's from both male and female character, hinting at the sexual thoughts from the beginning makes the final result later on in the play not seem to unrealistic to the audience if their thoughts were fairly sexual from the beginning.
The stage direction said 'woman moves as if to leave', so me and Ciara wanted to create a bit of movement that showed duality and battling emotions. We stand up irritated on 'dumbstruck' and start walking on 'dead'. I run in front of Ciara as if to stop her, I then pull her in, as if I am trying to push her back into myself, but instead she weaves around me, but I still have control on her arm and therefore try to pull her back but she is also pulling. By this time the boys utterance should have finished in time for Ciara to say 'too late too late' and then as the more dominate characteristic, I pull Ciara back as we walk underneath are arms and finish where we started. This is definitely more visually interesting to watch as we do not get up from the bench until this point, it shows how active both thoughts of both woman and man are upon their first meeting. By ending up in the same position before walking away, it shows how it was only the shy thought taking over wanting to leave the situation but that the dominate characteristic won and managed to stay standing before moving on in the script.
For the rest of the lesson, we went over the movement separately until they were very slick, before joining them together and making sure it all fitted. We thought that it was a good start as the movement from me and Ciara prevented the performance from becoming static, and wasn't making the performance look messy which was our only fear.
We will continue to work on the script once we have completed some more workshops that will help provide idea's and give motivation and inspiration for what we can do in our performance and keep it at the strong standard we started it at.
Wednesday, 17 April 2013
Wednesday, 27 March 2013
LESSON THREE - '27|3|13' - 'Berkoff - Lunch'
As we want to do two more performances by the end of the year, we knew that this one would be approaching fast. Sir decided that if he gave us the script now we'd be able to incorporate anything we learn in small workshops into our performance.
We were given the script 'Lunch' written by Steven Berkoff himself. Altogether it is about 20 minutes long, but we only need to do at least 12 - 15 minutes of it. The plot is of a chance meeting of a man and woman at a beach, and the thoughts behind the physical attraction, that leads them to talk and engage in more promiscuous thoughts and actions on a beach. This play is very contrasting to 'The Pillowman' as it is definitely more light-hearted and the comedy is meant to be surface rather than an uncomfortable humour that was present for the black comedy we did for Stanislavsky.
Another reason we were receiving in this script is there is a clear sense of duality in the lines. We decided the submissive and dominate duality would be good to play on, as that allows the movement to reflect the feelings of either shy or confident character. Having two people play one person means not only can there be physical interaction between the person's thoughts but the man and woman and gives a chance for dominate and submissive to clash in an entertaining way to produce humour and interest into the thoughts of everyday civilians as they meet by chance.
The Cast:
Poppy (Me) 
Ciara Woodcock
Man:
Matt Goodband 
Jake BowerAs Jake was missing during this lesson, myself Matt and Ciara decided to go through the script and split the Man and Woman's lines up into the categories of submissive and confident. For this we looking at chances where the submissive character could be pushed away for comedic effect, and the submissive to take over with their confident and over sexualised view of the other person.
It was decided that Me and Matt would play the submissive parts and Jake and Ciara the confident parts. This is based on what takes our personal appeal and seemed to fit better.
The scene starts of with the woman sat on a bench looking over at the sea, and the man entering from backstage, me and Ciara would do synchronised movements that resemble the emotion we are portraying. This allows the audience to engage with the characteristics of the emotions immediately whilst the man battles with his own idea's of the woman's physical appearance. Matt attempted to define between the two personalities without Jake by changing his posture and his vocal intonation, and made the pitch lower to resemble a smooth sexualised tone.
Next week, when Jake returns we will be able to develop the first page more adding in more of Berkoff's methods of physical movement.
Wednesday, 20 March 2013
LESSON TWO - 20|3|13 - 'Berkoff Research'
Steven Berkoff:
Born in London (1937), he studied drama and mime in London and Paris entering a series of repertory companies before forming himself: ‘The London Theatre Group’ in 1968. His plays have had many adaptations meaning they’ve been performed in a variety of countries, in many languages. He starred, directed and toured many adaptations such as: Agamemnon after Aeschlylus, Poe’s The Fall of the House of Usher, Shakespeare’s Coriolanus, playing title roles such as Richard II, Hamlet and Macbeth. Some of his own plays include ‘East, West, The Secret Love Life of Ophelia and Decadence. Berkoff was well known for playing evil characters, which he said ‘all the best actors took on the roles of the villains’
Berkoff used a challenging style of physical theatre more commonly known as ‘total theatre’. He is well known for being one of the ‘major minor contemporary dramatists in Britain.’ Berkoff focused on theatre of self-performance, which intersects between the public and the artist.
Berkoff’s plays often have very metaphorical linguistic twists that enable the actor to consider every height or depth imaginable to create meaningful language. He takes language and creates a roller coaster which the actor can take the audience on for a more unique performance. This could be by continuously juxtaposing between fact and fiction, euphemism and dysphemism, but Berkoff also juxtaposes the opposing worldviews the characters in the play might obtain. The character can often have a fabricated nature particulary in the way of perceiving reality which is suddenly made manifest to the audience which recognise the way the language is being put across contrast with either true meanings or what they know.
The effect most of Berkoff’s plays have is that continual uncertainty of significance. He is able to question the audiences belief with his language and perception the characters have as a vehicles of accurate communication and somewhat universal truth.
There is not only a very detailed language style - but the physical side is very exaggerated. It is a stylized mime, exaggerating the facial expressions. It allows the actor to externalise internal emotions while using third person address, rising up ideas of subconscious thoughts or subtext. Rhythm is used through the voice and body to create a emphasise every moment with thought, this allows a more abstract performance of the voice and ensemble where there is physicalisation of objects because this pushed the boundaries of his performances.
Some of Berkoff’s main influences are Laurence Olivier, Edmund Kean, Bertolt Brecht, Antonin Artaud and Jean Louis-Barrault.
Born in London (1937), he studied drama and mime in London and Paris entering a series of repertory companies before forming himself: ‘The London Theatre Group’ in 1968. His plays have had many adaptations meaning they’ve been performed in a variety of countries, in many languages. He starred, directed and toured many adaptations such as: Agamemnon after Aeschlylus, Poe’s The Fall of the House of Usher, Shakespeare’s Coriolanus, playing title roles such as Richard II, Hamlet and Macbeth. Some of his own plays include ‘East, West, The Secret Love Life of Ophelia and Decadence. Berkoff was well known for playing evil characters, which he said ‘all the best actors took on the roles of the villains’
Berkoff used a challenging style of physical theatre more commonly known as ‘total theatre’. He is well known for being one of the ‘major minor contemporary dramatists in Britain.’ Berkoff focused on theatre of self-performance, which intersects between the public and the artist.
Berkoff’s plays often have very metaphorical linguistic twists that enable the actor to consider every height or depth imaginable to create meaningful language. He takes language and creates a roller coaster which the actor can take the audience on for a more unique performance. This could be by continuously juxtaposing between fact and fiction, euphemism and dysphemism, but Berkoff also juxtaposes the opposing worldviews the characters in the play might obtain. The character can often have a fabricated nature particulary in the way of perceiving reality which is suddenly made manifest to the audience which recognise the way the language is being put across contrast with either true meanings or what they know.
The effect most of Berkoff’s plays have is that continual uncertainty of significance. He is able to question the audiences belief with his language and perception the characters have as a vehicles of accurate communication and somewhat universal truth.
There is not only a very detailed language style - but the physical side is very exaggerated. It is a stylized mime, exaggerating the facial expressions. It allows the actor to externalise internal emotions while using third person address, rising up ideas of subconscious thoughts or subtext. Rhythm is used through the voice and body to create a emphasise every moment with thought, this allows a more abstract performance of the voice and ensemble where there is physicalisation of objects because this pushed the boundaries of his performances.
Some of Berkoff’s main influences are Laurence Olivier, Edmund Kean, Bertolt Brecht, Antonin Artaud and Jean Louis-Barrault.
Wednesday, 6 March 2013
LESSON ONE - 6|3|13 - 'Berkoff's Physical Movement Workshop'
After finishing 'The Pillowman' and very naturalistic piece that can use many of Stanislavsky's acting methods, we are now going to look at the contrasting practitioner 'Steven Berkoff' and use one of his scripts to create a short 15 minute performance.
For the first lesson after doing Pillowman, we were told that this was a contrast to naturalistic movements. Where Stanislavsky has realistic gestures and movements, we were going to focus on the extreme of robotic movements.
The first exercise we did was in pairs and we had to re-enact setting up and eating a meal in synchrony. Working with Ciara we decided to follow the process and make are arm movements follow the rigid pattern of raising the elbow first then lifting the hand to place cutlery and drinks. This creates a jerky effect and is also easier to mimic each other as we only had a short amount of time to do this. This is very different to a naturalistic way of setting out a table because the robotic effect allows an image for the audience to interpret and is more aesthetically interesting to watch as the most simplest task is performed in a more visually pleasing way.
The second activity was adding words with movement. We were explained that every movement must express the correct feeling and emotion. In Berkoff's work we are removing any sign of subtext and everything had to be defined. We were told to create a conflict scenario that lasted about 30 seconds to 1 minute. We had to say the thoughts or words whilst actions were being performed. We also had to keep the robotic movement. My partner was Jake, we started off with him punching me, all the movement that we did was actually done with about a metre between us, and there was no actually physical contact between either of us during any part. Whilst doing the punch shouted 'jaw' to show his thought was of his aim. I said 'shock' to highlight this was unexpected. I returned a slap to Jake whilst spitting the word 'twat' to emphasise that the feeling my character had negative feelings towards Jake. Then he acted out reaching for my hair, and I showed the reaction and made bitter noises of pain. I received feedback that this part was too naturalistic, even if it was the reaction without contact, and I understand that the movement or sound I had made could've been more direct with the pain I was feeling.
The final activity we had to do was to create a piece of movement that could be looped, working in a group of four. It had to resemble a gang. Working with Kelly, Jake and Chris. We made a sharp robotic walk that went forward 3 steps before squatting down on count 4, by using counts were able to create a systematic pattern that made it easier for everyone to follow and getting a slicker performance. Once squatted we pretended to grab and sniff some dirt, this could be a sign that we are a gang defending territory, we then turned and sat down so are bodies were facing the opposite direction and in a position that was easy for us to stand up and start the movement again.
Although this was all we had time to create within the lesson it was great to see the potential to add some dialogue about being in a gang whilst keeping the systematic movement, or even making it into a canon movement and have a series of intertwining monologues. Even if we just had a script and read it, having the piece of movement that's not naturalistic we are able to a more visually dynamic performance that is more entertaining rather than connecting the emotions to the audience.
For the first lesson after doing Pillowman, we were told that this was a contrast to naturalistic movements. Where Stanislavsky has realistic gestures and movements, we were going to focus on the extreme of robotic movements.
The first exercise we did was in pairs and we had to re-enact setting up and eating a meal in synchrony. Working with Ciara we decided to follow the process and make are arm movements follow the rigid pattern of raising the elbow first then lifting the hand to place cutlery and drinks. This creates a jerky effect and is also easier to mimic each other as we only had a short amount of time to do this. This is very different to a naturalistic way of setting out a table because the robotic effect allows an image for the audience to interpret and is more aesthetically interesting to watch as the most simplest task is performed in a more visually pleasing way.
The second activity was adding words with movement. We were explained that every movement must express the correct feeling and emotion. In Berkoff's work we are removing any sign of subtext and everything had to be defined. We were told to create a conflict scenario that lasted about 30 seconds to 1 minute. We had to say the thoughts or words whilst actions were being performed. We also had to keep the robotic movement. My partner was Jake, we started off with him punching me, all the movement that we did was actually done with about a metre between us, and there was no actually physical contact between either of us during any part. Whilst doing the punch shouted 'jaw' to show his thought was of his aim. I said 'shock' to highlight this was unexpected. I returned a slap to Jake whilst spitting the word 'twat' to emphasise that the feeling my character had negative feelings towards Jake. Then he acted out reaching for my hair, and I showed the reaction and made bitter noises of pain. I received feedback that this part was too naturalistic, even if it was the reaction without contact, and I understand that the movement or sound I had made could've been more direct with the pain I was feeling.
The final activity we had to do was to create a piece of movement that could be looped, working in a group of four. It had to resemble a gang. Working with Kelly, Jake and Chris. We made a sharp robotic walk that went forward 3 steps before squatting down on count 4, by using counts were able to create a systematic pattern that made it easier for everyone to follow and getting a slicker performance. Once squatted we pretended to grab and sniff some dirt, this could be a sign that we are a gang defending territory, we then turned and sat down so are bodies were facing the opposite direction and in a position that was easy for us to stand up and start the movement again.
Although this was all we had time to create within the lesson it was great to see the potential to add some dialogue about being in a gang whilst keeping the systematic movement, or even making it into a canon movement and have a series of intertwining monologues. Even if we just had a script and read it, having the piece of movement that's not naturalistic we are able to a more visually dynamic performance that is more entertaining rather than connecting the emotions to the audience.
Wednesday, 27 February 2013
'The Pillowman' 26&27|2|13. - 'Final Performance'
After the performance the Tupolski's were asked a number of questions about our final decisions on how we carried through our characters. I feel this response will be a better explanation for some of the final choices I made about my character and where some alterations were made to specific parts or lines in the play.
Wednesday, 20 February 2013
LESSON EIGHTEEN. - 18&19|2|13 - 'The Pillowman' - 'Half Term Rehearsals.'
In the half term holidays, a week before the final performance, we went into school to make the more intricate changes to previous blocking idea's, that allowed us to add more depth into the performance. Me and Emily then logged on a video the changes that we made in the first act.
We then did an undirected run through for the first time of the play. There were some points of weakness due to remembering the changes and having a long day. But overall I think we managed to give the performance more depth and gave us an idea of the fluidity and pace it should be running at. It also gave us a chance to see where certain tones worked and where they didn't work depending on the sections that were surrounding them, allowing us to think further where a different tone should be used and which parts needed to be practised more.
Wednesday, 6 February 2013
LESSON SEVENTEEN. 6|2|13. 'The Pillowman - Photo's'
Today we were dealing with some promotional side of 'The Pillowman'. We wanted to take a around 25 - 50 pictures that could be used as a poster as well as projected onto the wall. To do this, we decided that we would go through the most dynamic parts of the script to take photo's. This would also allow us to think more about our facial expressions which we could then transfer to the final performance.
I really like this image that we took, I like how Katurian seems sad - almost confused and how I'm not really paying attention, with a blank expression. This portrays how the characters are within the first scene. With Tupolski being fairly dismissive to Katurian's fear and Katurian still being confused on why she is there. This would be good for the poster, because the audience would want to find out more of the performance and why my character looks displeased or blank whilst Kelly is fiddling with her hands making her seem nervous. It raises questions such as 'why is she nervous?' 'what has she done?' when in fact she doesn't know what she's done.
I really like these two images of the siblings Katurian and Michal. It's showing the moment just before Katurian smothers Michal with the pillow to save him the horror and torture and execution at the hands of the police. In the second picture you can slightly see the bitterness of the choice Katurian is making to kill her own brother in one of the most humane ways possible. Although I really like this image, for a promotional picture, I think it gives away too much of the story and would give the audience a hint to who is going to die before even seeing the play.
Subscribe to:
Posts (Atom)