Lauren Walker 0803093 Blog Assessment 2
1.The main strategy of devising through the process and in particular the R (Research) phase of the devising model was the method of working on impulse and response. This was conducted at the very beginning of the process through the play sessions which are allowed for the group as an entirety to experiment and develop their characters based on what we already knew about the synopsis, which came from previous devising. Oddey states that “Devised theatre can start from anything” (Oddey 1996: 1) which from working through this process I have learnt is true, we started by writing letters, which told our own story about the woman that had gone missing and from this we’ve built upon our own characters and developed the woman’s story. We then researched by bringing in items which we felt reflected those that belong to the missing woman. Through processes of play using impulse we have created devised material which has both been added to the final piece and material which has been thrown out. Marshall states that ‘all of us are in a constant state of impulse and response’ (Marshall, L., 2001, pg32) and we can use this experience in our work to showcase impulsive behaviour on stage. A method which had been useful in developing ensemble pieces was the clap method which allowed for a fair process and allowed the work to develop without the need to discuss what to do; this therefore led to a more impulsive and exciting ensemble pieces.
2.At the beginning of the devising process my character had no clear definement until we were set the task of writing a letter regarding the missing woman and to state in what capacity we were involved in this. My character originally was very distant from the missing woman and did not know her as well as other in the community, but as the devising process has built my character has built and changed as well. This is because my character was drawn in by the other people in the community and my character felt their sadness and distress of not knowing what has happened to this missing woman. My character has fed off other people in the community and drawn her own conclusions from the feelings of others around her. I believe the reason for this is because my character has formed relationships with others on stage, “devising depends on relationships and chemistry between people.” (Oddey, A. 1996:P.66) This is where my character has changed, and now feels sympathy for the missing woman and also for the other people in the community who also want to know what has happened to the woman. I think my character constantly builds every session, which in the devising process is expected as devising is work in progress; therefore my character isn’t completely refined at this moment in the devising process and may change again as a result of impulses developed on stage between myself and other characters.
3.The main physicality that my character takes is to be close to others, feeling safe around others. One physicality which I think is strong with my character is the constant eye contact with others, this is a strong signal to the audience that are watching and can mean many different things, in the instance there is a strong linked contact through the eyes that means that the other person is being watched my character, this is mostly aimed to Andy’s character. My character also demonstrates at this moment in the process a lot of closed body language such as folding her arms to shield herself away from others, but then when she feels a sense of security she clings on to other for support and safety. All though there is a feeling of conformity during the group ensembles, there is still a feeling of individuality displayed physically by my character. Callery states that ‘characters change during the course of a play’ (Callery, D: 2001 p 211) and this I believe is a statement which describes my character physicality as my character gets stronger mentally as the play goes on by standing straight backed. During the bar scene, my character displays a lack of concern in the body language for the woman. Later on in the second ensemble piece my physicality to Andy changes as I become more closed to him as my character wishes to distance herself away from Andy, even though she doesn’t completely know what has happened, she has some kind of idea from the rest of the ensemble.
Bibliography
Callery, D (2001): Through The Body: New York: Routledge
Marshall L. (2001) The Body Speaks. London: Methuen Publishing Ltd.
Oddey A, 1996, Devising Theatre: A Practical and Theoretical Handbook :Routledge: London
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