Question 1.
Throughout the whole of the creative process of devising Four Ways to Speak Out, we have been collectively as a group been able to present new ideas through the use of ways such as the ‘clap’ method. Not only was this method useful in getting people’s ideas across to the rest of the group efficiently, but it also meant that we all stayed on task without straying off into a discussion which could possibly have reflected on matters outside of the creative space. The use of learning a wide range of different techniques, and creating a ‘palette’, was greatly beneficial towards the group, and meant that we could all use the palette during our ‘play’ sessions to experiment with. The use of the palette and the play sessions also helped us to become more confident in the way our bodies move and how they feel comfortable moving within the space, thus helping us towards the creation of an individual character for Four Ways to Speak Out. Callery writes in her 2002 book ‘Through the Body’ ‘You can play with space, with objects, with energy, with each other, without necessarily creating any tangible product’. This statement in my opinion is true. Throughout the use of these play sessions and miniature group sessions, we have all successfully been able to create an individual character suited to us, yet remain as a community through the way we communicate and participate with and around each other.
Question 2.
At this point in the production, I feel that my character is still on a journey and is still growing though the work which we are creating. Initially my character was a very close friend to the woman, and through the use of the letter writing, I found that my character had a certain dependency on the woman. My character was slightly paranoid about how she was perceived by the surrounding community. She felt that she was not as respectable and a trouble maker in comparison to the woman. At points throughout the piece my character does appear to be a less respectable person. This can be seen during the first flash back. My character is going on a night out in a skimpy revealing outfit. She’s also a bit of a flirt as she, and the other female companions, try to win over Andy’s character. However as we have progressed though the development of the ensemble pieces, this changes through time. During the opening section I start by walking through the street and occasionally entering the bar with Charlotte, talking and having a laugh as friends. This is different to the first time we set this scene. At first I found myself in the bedroom, and on some occasions, didn’t have a strong connection with the hustle and bustle of people realising that the woman had gone missing. Throughout the creation of the second ensemble piece, I have found that my character has become quite protective over Steph and also towards Dawn as she gets drawn in by Andy. I feel that my relationship with Steph during this section of the piece is of a sisterly bond rather than of a friendship.
Question 3.
My character, still being on a journey and yet having to reach its full structural height within the piece, cannot fully be identified physically through the use of body language. However, during different stages of the woman’s life, my character has grown up and this can be seen during the piece. The first flashback is the earliest image we have of the woman and her friends. During this section my character moves in a stylised manner, being a ‘base’ for a catch and a quick yet powerful encounter with Andy’s character. However as the scene progresses and we witness the woman being manipulated by Andy, my body becomes a representation of what is happening to the woman. However as we work our way through the piece my character becomes more mature. At times however, we see how uncomfortable my character can feel. An example of this is during the confrontation between Dan and Andy. As the male characters confront each other, the neighbourhood gradually move from the tight knitted community we have just witnessed, into a more dispersed formation. Watching the male characters during this scene makes me feel quite uncomfortable and somewhat vulnerable, and this shows through my body language; arms folded, and the repetition of a very pedestrian rubbing of the back of the neck. Working our way further through the piece into the next ensemble scene, I feel that my character has now taken on a more elder sisterly role towards Steph. My body language here again becomes slightly different, with me running to save Steph from her fall, and the way in which I almost wrap myself around her as a means of protection from a negative outside influence. I think that as we work our way even further through the piece, it will become apparent to myself and the audience, that once again my character has become more mature and shielding towards characters that I have been drawn to.
Bibliography.
Callery, D. (2002) Through the Body. London: Routledge.
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