Devising in a restricted space:
This can both benefit and hinder the devising process. The small space can make you as performers be more creative with you're space, but it may also make you have to weary when doing lifts . It forces you to be always spatially aware and cautious. This may be a problem if you are only devising in that space and are performing in a larger space, as it may seem like you are not fully utilising the space. To prevent this you may have to rehearse a couple times in the larger space, expanding your piece if needed. However if you are performing in the limited space, you may want to incorporate it into you're piece, this would make the piece more interesting and engaging for the audience.
Once you find your space, make sure you understand it and know where the audience will be and how it will be staged when performing. This is crucial as you must devise so the audience can see and understand what you are presenting to them.
Friday, 18 December 2015
Tuesday, 15 December 2015
Research the theatre company Complicite Make comments and evaluate their performance work, subject material and rehearsal methods. (Minimum 600 words).
BACKGROUND:
When asked whether he could describe Complicite in five words Simon McBurney, the owner, said "no I cant." He goes on to say that Complicite is formed of actors who are not only performing but producing work for the show. Each piece is created from a piece of subject matter, the subject matter is what drives the piece forward says McBurney. They create wildly different pieces in 2010 they had created three differing performances, the first was A Disappearing Number about an American Mathematician, the next Shun-Kin which is entirely in Japanese and the final piece this piece was created in Russian with a Russian composer. Good theatre to McBurney is "not even what you see on stage but is all about the audience and what they imagine."
PERFORMANCE WORK:
A Dogs Heart: In the performance, A Dogs Heart they use puppetry to create a live dog. They have three actors controlling the dog, in this twisted interpretation of Frankenstein. The combination of sound effects and realistic puppetry fixates your attention and makes you look past and forget the actors controlling the dog despite them being very visually prominent. As well as that, the person creating the live sound effects with a megaphone is also on stage, despite these quite distracting figures on stage, you are still engrossed in the dog and its movements, this is because as a member of the audience the dog is more interesting than those controlling it, proving its effectiveness. There is also clever use of lighting, this is used to disguise the changing set, as the play takes place in several locations. This is effective as the play is seamless and fluid rather than stagnant from blunt transitions.
I can also tell how much each of their performances vary, Beware Of Pity includes a quite a large cast whereas The Encounter is a solo performance, demonstrating that Complicite are always experimenting and evolving. Complicite also use lighting very creatively, often projecting images on to actors to communicate an emotion or atmosphere to the audience.
They do not create naturalistic plays, instead frequently using physical theatre and gestus to stimulate and engage the audience. They do this very effectively creating pieces that utilise proxemics to communicate relationships between characters, the staging is equally important to complicite's shows, having tightly choreographed sequences that are beautifully orchestrated.
SUBJECT MATERIAL:
Currently the are showing a piece Beware Of Pity, a show that is based on a German novel called Ungeduld des Herzens and is performed completely in German. They almost always create a piece from text, the material naturally differs completely from piece to piece, they created a more family friendley piece based on the novel Lion Boy. It is evident that Complicite never do the same thing twice.
Complicite choose subjects that will lead them naturally to the appropriate style and form, however they stay open to surprises and reject things that feel forced or aren't working. They choose subject matter sooner rather than later, and allow to see where it takes them instead of waiting for the perfect subject to sprout from their minds.
When researching subject material the Complicite will visit museums, listen to music, find text and pictures and share this research as a group. This helps everyone gain a deeper understanding of the subject material, understanding is essential. When they have hit a creative block, or need material quickly they will improvise something within a defined amount of time, this also builds understanding of subject matter and creates potential show material.
REHEARSAL METHODS:
The rehearsal process of Complicite is devised largely through trial and error, exploring with those your working with using their imaginations as your creating the piece, engaging with peers. Often performers may swap roles in a scene, this may help them understand their character more and at its best may even be revolutionary.
In the beginning of the process they often make use of games. One of these games involves playing ball, the game involves embracing an atmosphere of aggression and competitiveness. This is done to naturally release any negative emotions that actors may have brought in before rehearsals, this energy can also be used to create shows.
An example of a game they play is Cat And Mouse, a game we played in class.
1. Divide the group in two. One group stands in a large circle to mark the edge of the playing area, and to stop the blindfolded players from leaving the space. The other group put on blindfolds.
2. One of the blindfolded players is named the cat and the rest are mice.
3. This game is about maintaining perfect silence and listening. The cat must listen very carefully and attempt to catch all the mice. The players are not allowed to stop moving for more than a few seconds. If a player is attempting to walk out of the circle somebody in the wall must turn them gently
This game forces you to rely on your other senses, making you more aware and in the present moment. It forces you to be spatially aware without seeing the space allowing you to get a genuine connection and feel of the space,
When asked whether he could describe Complicite in five words Simon McBurney, the owner, said "no I cant." He goes on to say that Complicite is formed of actors who are not only performing but producing work for the show. Each piece is created from a piece of subject matter, the subject matter is what drives the piece forward says McBurney. They create wildly different pieces in 2010 they had created three differing performances, the first was A Disappearing Number about an American Mathematician, the next Shun-Kin which is entirely in Japanese and the final piece this piece was created in Russian with a Russian composer. Good theatre to McBurney is "not even what you see on stage but is all about the audience and what they imagine."
PERFORMANCE WORK:
A Dogs Heart: In the performance, A Dogs Heart they use puppetry to create a live dog. They have three actors controlling the dog, in this twisted interpretation of Frankenstein. The combination of sound effects and realistic puppetry fixates your attention and makes you look past and forget the actors controlling the dog despite them being very visually prominent. As well as that, the person creating the live sound effects with a megaphone is also on stage, despite these quite distracting figures on stage, you are still engrossed in the dog and its movements, this is because as a member of the audience the dog is more interesting than those controlling it, proving its effectiveness. There is also clever use of lighting, this is used to disguise the changing set, as the play takes place in several locations. This is effective as the play is seamless and fluid rather than stagnant from blunt transitions.
I can also tell how much each of their performances vary, Beware Of Pity includes a quite a large cast whereas The Encounter is a solo performance, demonstrating that Complicite are always experimenting and evolving. Complicite also use lighting very creatively, often projecting images on to actors to communicate an emotion or atmosphere to the audience.
They do not create naturalistic plays, instead frequently using physical theatre and gestus to stimulate and engage the audience. They do this very effectively creating pieces that utilise proxemics to communicate relationships between characters, the staging is equally important to complicite's shows, having tightly choreographed sequences that are beautifully orchestrated.
SUBJECT MATERIAL:
Currently the are showing a piece Beware Of Pity, a show that is based on a German novel called Ungeduld des Herzens and is performed completely in German. They almost always create a piece from text, the material naturally differs completely from piece to piece, they created a more family friendley piece based on the novel Lion Boy. It is evident that Complicite never do the same thing twice.
Complicite choose subjects that will lead them naturally to the appropriate style and form, however they stay open to surprises and reject things that feel forced or aren't working. They choose subject matter sooner rather than later, and allow to see where it takes them instead of waiting for the perfect subject to sprout from their minds.
When researching subject material the Complicite will visit museums, listen to music, find text and pictures and share this research as a group. This helps everyone gain a deeper understanding of the subject material, understanding is essential. When they have hit a creative block, or need material quickly they will improvise something within a defined amount of time, this also builds understanding of subject matter and creates potential show material.
REHEARSAL METHODS:
The rehearsal process of Complicite is devised largely through trial and error, exploring with those your working with using their imaginations as your creating the piece, engaging with peers. Often performers may swap roles in a scene, this may help them understand their character more and at its best may even be revolutionary.
In the beginning of the process they often make use of games. One of these games involves playing ball, the game involves embracing an atmosphere of aggression and competitiveness. This is done to naturally release any negative emotions that actors may have brought in before rehearsals, this energy can also be used to create shows.
An example of a game they play is Cat And Mouse, a game we played in class.
1. Divide the group in two. One group stands in a large circle to mark the edge of the playing area, and to stop the blindfolded players from leaving the space. The other group put on blindfolds.
2. One of the blindfolded players is named the cat and the rest are mice.
3. This game is about maintaining perfect silence and listening. The cat must listen very carefully and attempt to catch all the mice. The players are not allowed to stop moving for more than a few seconds. If a player is attempting to walk out of the circle somebody in the wall must turn them gently
This game forces you to rely on your other senses, making you more aware and in the present moment. It forces you to be spatially aware without seeing the space allowing you to get a genuine connection and feel of the space,
Monday, 7 December 2015
Discuss the value of actors studying contact improvisation and justify all your comments.
Contact improvisation is valuable because it develops a lot of essential skills actors need to be a good actor. Like trust within your peers, this is needed as unless you're performing a monologue, to create a powerful scene you need to trust your fellow actors will pick up their cues and feed off the energy you bring to them. If they are struggling you also need to be able to help them out, something that contact jams develop, as it builds awareness of your peers and if you are inside your own head while performing you won't be able to interact with your peers or help them if they need it, ultimately hindering the piece.
It builds your ability to depend and fall back on the sub conscious, as when in a contact improvisation, you should only be operating within this space, not consciously thinking of what you are going to next but letting your sub conscious mind take control. This allows you to tune into your natural instincts something that can improve a naturalistic performance greatly. By letting your sub conscious mind take control you are fully in the present moment, not thinking of what happens next, when your cue is, you can totally interact and immerse yourself within your peers and your performance.
It builds your ability to depend and fall back on the sub conscious, as when in a contact improvisation, you should only be operating within this space, not consciously thinking of what you are going to next but letting your sub conscious mind take control. This allows you to tune into your natural instincts something that can improve a naturalistic performance greatly. By letting your sub conscious mind take control you are fully in the present moment, not thinking of what happens next, when your cue is, you can totally interact and immerse yourself within your peers and your performance.
Friday, 4 December 2015
Describe the process and application of combining text with contact.
Usually in my experience the contact part of the process comes first. The contact creates opportunities to implement text and inspires the kind of text that will be used. In our devising process we have an underlying theme and from that we develop choreography with the help of contact improvisation. The theme also helps guide us to finding suitable text for the piece. You also want make sure that the text isn't shoe horned into the piece and that it doesn't feel forced. If it benefits the segment then keep it if you are unsure try the segment with and then without the text and see how the two compare.
If your having trouble choosing where to add text, perform what you have and think about which part feels the most boring or the most bland. When finding text bear in mind what movements you have in your piece and if they need to be adapted for the text. You could also devise a section from a piece of text instead of adapting a segment to involve text. When doing this it helps to have the text being read out while rehearsing to make sure you have timing right.
If your having trouble choosing where to add text, perform what you have and think about which part feels the most boring or the most bland. When finding text bear in mind what movements you have in your piece and if they need to be adapted for the text. You could also devise a section from a piece of text instead of adapting a segment to involve text. When doing this it helps to have the text being read out while rehearsing to make sure you have timing right.
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