1). What are the key strategies of devising that have been used through the creative process of Four ways to speak out? Reflect briefly on how these strategies have enabled the growth and development of both individual characters and the ensemble’s idiosyncrasies.
Playwright, actor and film director, Robert Lepage, adopts the ‘RSVP’ model of devising to his work. Also known as The RSVP cycles “[…] which in dance and performance are space, objects and the body, placing improvisation at the core of the creative process.” (Dundjerovic, 2009, p.10).
‘R’ standing for the ‘research’ phase (also resources) is essentially the starting point for this process. In this ‘phase’ we carried out various activities/strategies, in order to establish an overall concept for the piece Four Ways to Speak Out.
Initially, we explored the issue of domestic violence in a scenographic and practical fashion. Entering the space- sectioned into four different ‘environments’- divided by a ‘street’, we positioned ourselves in the area which was relevant to an object (which we previously felt drawn to). For e.g. (object) plastic cup- (space) bar. Immediately this provided the ensemble with a basis for exploring context, atmosphere, movement, emotion and other key aspects of the devising process.
In terms of individual character development, we were set the task of writing a letter to ‘outsiders of the community’ in response to their concern over the disappearance of the woman. This was extremely effective, as it enabled us to get a real sense and understanding of our characters and their position within the community.
“[…] The resources are emotional- as personal and collective memories, and material-as in the use of objects and space, […] in order to find the truth about the characters present.” (Dunderovic, 2003, p.54). The most productive strategy we used in the ‘Research’ phase was compiling the ‘collage’ of the missing woman’s belongings. It gave the whole ensemble different ideas/interpretations of the woman, what she looked like, her taste, image, scent, personality and more importantly- any clues as to why she might have disappeared.
2). Analyse the growth of your own character from the beginning of Four Ways to Speak Out to where you are at in the process now. State the reasons for its development/change/refinement.
In physical theatre, the concept of ‘character’ building is different to how we interpret conventional characterisations. As actors we have to develop a sense of neutrality, “[…] to allow the free flow of creative impulses through the body” (Callery, 2001, p.32). In order to do this we train in a very focused and disciplined environment, entering a “[…] ‘state of being’ […] where the actor attains an energized stillness” (Callery, 2001, p.32). This prepares us for the demands of the physical work, enabling us to cultivate an emotional attachment throughout the improvisation-consequently influencing our character development.
At the beginning of the creative process, I started to explore my character through physicality, rather than deciding on a particular emotion or ‘concept’ to build upon. In doing this, I found that the physical movements/gestures generated through the ‘play sessions’, had a direct influence on my emotional state. For e.g. when we experimented with ‘contact improvisation’ and began to address the issue of overcoming bodily inhibitions, I felt extremely vulnerable and physically exposed. These negative feelings then triggered a creative response for my individual character, in that I became reserved and detached from the community (when we started to devise ensemble work and the opening of the piece).
Throughout the course of the module, however, my characters position within the community has changed. Rather than isolating myself, I get more involved with the ‘community’ (the bar scene, ensembles), and have channelled my negative energy into resentment for Andrews’s character- as he is the principal reason behind the woman’s disappearance. The other reasons for this change are simply practical, for e.g. the way the space was divided into four ‘environments’- we had to be a part of one. Also, I have made certain emotional discoveries regarding my character, which have urged my need to be part of something, some foundation- in essence the community ensemble.
3). Identify your characters physicality through detailed analysis of its body language.
“Awareness of balance, your relationship with gravity, a skeletal awareness and breathing, […] allow you to come closer to direct experience of what it is to exist in a theatrical environment”(Keefe & Murray, 2007, p.148).
Use of ‘body language’ is how we physically express our emotions and character persona’s. The most effective way of communicating with our bodies, is through the relationship we form with the environment and space. An audience need to see that we are comfortable within the theatrical space, in order to believe that we are consigned to the performance.
To establish this essential relationship, we have to focus on training the spine, “If the spine is active, each vertebra can move freely, then the nerves can function better.” (Oida & Marshall, 1997, p.9). In doing the ‘warm-ups’ before process and performance sessions, we begin to develop this sense of release (eradicating any tension) which allows the body to feel unobstructed in the space.
In terms of my ‘character’, I feel I’ve developed a strong relationship with the space, no longer feeling afraid to fall to the floor. Through the physical training, we have learned how to ‘fall and catch’ properly, which also relies upon your trust in others. In learning these techniques, my characters physicality has developed productively.
My characters physical presence has also advanced, when doing the repeated movements in the ensemble sequences, my body naturally flows into the action (body memory kicks in). I have a deep understanding of my characters emotional state, which effectively is portrayed through my characters body language in the performance.
Bibliography
Callery, D. (2001) Through the body: a practical guide to physical theatre. Routledge
Dunderovic, A. (2003) ‘the cinema of Robert Lepage’: the poetics of memory. Wallflower Press.
A,S, Dundjerovic. (2009) ‘Robert Lepage’ Routledge. Taylor & Francis e-library (2008)
Oida, Y & Marshall, L. (1997) The invisible actor Routledge.
Murray, S & Keefe, J. (2007) Physical theatres: a critical introduction. Routledge.
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