There were two performances, the first for me was in my opinion was a better overall performance, I think that the nerves were in the right place and the energy was high but controlled within the right focus.The 'Grid' at the start was very much enjoyable and I totally through myself into it, I lost all fears and immersed myself fully, laughing, crying, screaming, all these emotions truly took place within the space and my space too... I feel that Liza and I connected during this time on stage which was inspiring. There was also a great energy between all the actors on stage, the downfall was that unfortunately some of the group members were missing due to illnesses, however we pulled through. It seemed like it went by so fast, which means that I was totally in the zone and focused.
The second performance was a little more difficult, more people were missing for the second night which gave a kind of, lets get this over with kind of feeling. Rather than fully enjoying an immersing myself into the show, I found myself thinking of what I was doing rather than just doing and being in the moment. There was also a couple of stage direction changes and an extra scene put in about an hour before the show, which in a way without realising threw me a little. In this case, a distraction on my acting which I let get hold of me. However the show was finally over and I do believe that I was totally committed for the first night. On reflection, I think it would be beneficial to find sometime alone to build an energy for myself to help my focus.
Friday, 3 February 2012
Preparations before the show
A lot of hard work is needed for a show and due to the fact that the show was performed at the Bull Theatre in Barnet, the frame that we built needed to be disassembled, transferred to the Bull Theatre from the Arts Depot and reassembled there. It was important to work as a team and to arrive at 8:30am for a full days work prior the permanences. Together we worked to achieve the target, Rosie and myself also had the job of stitching some of the holes in the frame a little smaller as they had stretched quite a lot during rehearsals and therefore needed to be adjusted for the perfect effect.
By around 4pm however we were still due a technical run and an extra rehearsal. The tech run ran smoothly, Rosie was working with Michael and Grant (a first year student) with the lights and effects. However as a group of performers we did not really put our all into this run, and Nick was getting angry as the show was not looking great. He made a point of how we as performers were selfish and not giving enough to an audience. I have to agree with all these comments, it's vital that an actor/performer gives %100 at all times, for if he/she doesn't then the result will be false, which is the complete negative to true acting and a true performance. This did result in me reflecting on my performance and my aim as a whole performer in general, to bring truth is completely important to me, it's kind of a spiritual goal for me and is one of my strongest morals in life. Through this conversation, Nick had inspired me to work harder on my focus in order to get my very much purpose result. As Grotowski would say... 'The result is freedom'
My answer to this 'I will only feel free once the truth is released'
Below is a picture of Shakira playing Shakalaka in a red cape, this shot was taken from the light and sound technical desk.
By around 4pm however we were still due a technical run and an extra rehearsal. The tech run ran smoothly, Rosie was working with Michael and Grant (a first year student) with the lights and effects. However as a group of performers we did not really put our all into this run, and Nick was getting angry as the show was not looking great. He made a point of how we as performers were selfish and not giving enough to an audience. I have to agree with all these comments, it's vital that an actor/performer gives %100 at all times, for if he/she doesn't then the result will be false, which is the complete negative to true acting and a true performance. This did result in me reflecting on my performance and my aim as a whole performer in general, to bring truth is completely important to me, it's kind of a spiritual goal for me and is one of my strongest morals in life. Through this conversation, Nick had inspired me to work harder on my focus in order to get my very much purpose result. As Grotowski would say... 'The result is freedom'
My answer to this 'I will only feel free once the truth is released'
Below is a picture of Shakira playing Shakalaka in a red cape, this shot was taken from the light and sound technical desk.
A well deserved rewrite!
We are coming so close to the performance date, it seems crazy to rewrite the script, however after performing the original play to Nick and Michael, it became clear that a lot was missing, therefore things must change. At the beginning of the play a form called 'The Grid' will be performed for ten minutes, this will be rehearsed and partly improvised, the rehearsals will develop our skills of improvisation for the 'The Grid', total focus is essential within this piece and every movement must have purpose and reason and must not be false in any way. This can be challenging when all you have are is a grid to walk and play with in a sense, however feeling off others can improve an energy and a vibe.
Another major change to the play was to instead of basing the show around everyone and how everyone is feeling, it has been decided to base the play on three main characters, which will played by Rosie, Mario and Chris, they start by being out side the play 'Frame' whilst everyone else is inside the play playing 'their' mind, with each different character and phrase, mine being unsettled,others being useless, animated, unreliable, detached and so on... However the three main characters still adopt their phrases which are bitchy for Rosie, afraid for Mario and semi-detached for Chris. This enables the 'frame' to pick on these words and to create question and answers. For instance, my line would be to Rosie, "Are you unsettled?" or To Mario, "Maybe your unsettled, that's why your afraid?"
All these sentences put together from each person in the 'frame' to the three characters on stage creates a self analytical scene that confronts and disturbs one self.
The song that was sang originally by everyone on stage is sang in the frame by 'The Frame' characters, until guided out by a character called 'Shakalaka' played by Shakira, who is to be some kind of mystic fortune teller, prediction queen in a sense, a guide of some sort, a controlling force in the play. She leads us to the stage into a trance and speaks the words of "words, thoughts, people," until we start loosing ourselves in one place, as she continues with her chants, we start hallucinating, going mad for our thoughts might misguide us and send us crazy. This scene is called 'The Ritual', when this is finished we leave and the audience find Rosie, Mario and Chris in the 'Frame' scared, confused and alarmed, like they are in their own minds, a scene plays.
To continue with the changes, Chris and Rosie end up being the perfect people dummies for the 'Labelling Scene' rather than James and Lucy who were the original characters. Whilst this 'labelling' commences, Mario stays in the 'Frame' and watches with confusion, frustration and is 'afraid' which is his phrase. The rest of the 'Frame' characters arrive on stage with a cover over their heads, typing on phones at the back in a line. Soon 'Shakalaka' presents the perfect people and leads the original 'Frame ' characters back into the frame joining Mario, soon each person end the show with a sentence in a robotic voice, for example "I'm not unsettled, my name is Jones" and like dominoes each phrase follows. Mario ends with "My name is Mario"
The show is till only thirty minutes long, however it does have more purpose and focus to it.
Below is an image reheating the "Labelling scene'.
Another major change to the play was to instead of basing the show around everyone and how everyone is feeling, it has been decided to base the play on three main characters, which will played by Rosie, Mario and Chris, they start by being out side the play 'Frame' whilst everyone else is inside the play playing 'their' mind, with each different character and phrase, mine being unsettled,others being useless, animated, unreliable, detached and so on... However the three main characters still adopt their phrases which are bitchy for Rosie, afraid for Mario and semi-detached for Chris. This enables the 'frame' to pick on these words and to create question and answers. For instance, my line would be to Rosie, "Are you unsettled?" or To Mario, "Maybe your unsettled, that's why your afraid?"
All these sentences put together from each person in the 'frame' to the three characters on stage creates a self analytical scene that confronts and disturbs one self.
The song that was sang originally by everyone on stage is sang in the frame by 'The Frame' characters, until guided out by a character called 'Shakalaka' played by Shakira, who is to be some kind of mystic fortune teller, prediction queen in a sense, a guide of some sort, a controlling force in the play. She leads us to the stage into a trance and speaks the words of "words, thoughts, people," until we start loosing ourselves in one place, as she continues with her chants, we start hallucinating, going mad for our thoughts might misguide us and send us crazy. This scene is called 'The Ritual', when this is finished we leave and the audience find Rosie, Mario and Chris in the 'Frame' scared, confused and alarmed, like they are in their own minds, a scene plays.
To continue with the changes, Chris and Rosie end up being the perfect people dummies for the 'Labelling Scene' rather than James and Lucy who were the original characters. Whilst this 'labelling' commences, Mario stays in the 'Frame' and watches with confusion, frustration and is 'afraid' which is his phrase. The rest of the 'Frame' characters arrive on stage with a cover over their heads, typing on phones at the back in a line. Soon 'Shakalaka' presents the perfect people and leads the original 'Frame ' characters back into the frame joining Mario, soon each person end the show with a sentence in a robotic voice, for example "I'm not unsettled, my name is Jones" and like dominoes each phrase follows. Mario ends with "My name is Mario"
The show is till only thirty minutes long, however it does have more purpose and focus to it.
Below is an image reheating the "Labelling scene'.
Wednesday, 18 January 2012
My Name is Jones.... The Devised Play
We have been working on this show now since October and it is now January, as one can imagine, devising a piece of theatre with 17 other people can become very stressful. We have come close to the end and the show will be performed next week. Extra rehearsals have proved to be extremely beneficial, however there have been lots of hiccups during these rehearsal. Focus is the key point and unfortunately this sometimes lacks in the group and can drag out the rehearsals. The frame has also been developed into a further more impressive piece, however it is very challenging to perform as it's very claustrophobic and is not at all comfortable. Though the frame is very impressive and I believe is something 'fresh' to a piece of theatre, the concept is brilliant.
The show has been changed now, it is still about identity but is now based on three characters, the frame represents the characters minds, in which the different personalities a mind can take on. I feel like this piece of theatre has got a lot of potential and I am excited about the concept, however I do feel a little uninspired about the characters journey and the overall meaning of this story. If I had it my way, I would base the script on one single character, going through life with his mind distracting him, helping him... All the things our minds do, let it almost be semi naturalistic flowing story based play, but styled themed, for the frame will always be the constant focus of the play, playing the characters mind, the same as it is doing in our show 'My name is Jones'.
I do feel like this play lacks in wit and humor, which it did initially have, but now it has been thrown away due to some changes, I do feel like this has disheartening the class and therefor has caused distractions.
Below are some images of the new Frame...
Still I will put all my efforts in to make it as impressive as it can be.
The show has been changed now, it is still about identity but is now based on three characters, the frame represents the characters minds, in which the different personalities a mind can take on. I feel like this piece of theatre has got a lot of potential and I am excited about the concept, however I do feel a little uninspired about the characters journey and the overall meaning of this story. If I had it my way, I would base the script on one single character, going through life with his mind distracting him, helping him... All the things our minds do, let it almost be semi naturalistic flowing story based play, but styled themed, for the frame will always be the constant focus of the play, playing the characters mind, the same as it is doing in our show 'My name is Jones'.
I do feel like this play lacks in wit and humor, which it did initially have, but now it has been thrown away due to some changes, I do feel like this has disheartening the class and therefor has caused distractions.
Below are some images of the new Frame...
Still I will put all my efforts in to make it as impressive as it can be.
Monday, 5 December 2011
Inspiration from Grotowski... A Few Words !
Everyday we are faced with challenges, everyday something occurs.
We must face the day, face the time and live in time.
Only a few of us do so, only a few of us face the day, face the challenges, learn about them and go through them.
We can get distracted, this happens, we don't realise, only do we realise, when, we get back to our original matter of truth... Which in itself is a challenge.
Life is magical and I don't want to miss a thing...
We must face the day, face the time and live in time.
Only a few of us do so, only a few of us face the day, face the challenges, learn about them and go through them.
We can get distracted, this happens, we don't realise, only do we realise, when, we get back to our original matter of truth... Which in itself is a challenge.
Life is magical and I don't want to miss a thing...
Introducing Jerzy Grotowski
Jerzy Grotowski was born in Rzeszow, Poland on the 11th of August 1933 and sadly died in 1999.
He was a Theatre Director, Actor Trainer and Theorist whose work was split into 5 phases:
1)Theatre of Production- (1957-1969)
In 1958 Grotowski moved to Opole where he was invited by the theatre critic and dramaturg Ludwik Flaszen to serve as Director of the Theatre of 13 Rows.There he began to assemble a company of actors and artistic collaborators which would help him realize his unique vision. He explored the actor's and audience's relationship, and developed his methods and idea's of what an actor and theatre should be. After a few of his productions it was then his realization now known as Grotowski's notion of 'poor theatre.
Stripping everything away from the actor and stage, to the point of no props, no make up and simple costume was something that Grotowski believed to be real theatre, the bare truth in a sense.
2)Paratheatrical phase- (1969-1978)
Grotowski did not perform after his theatre of production, during this time he took his journey towards self discovery within himself and other actors and groups, there was no audiences during any of these meetings. It was more of a training process in a sense, in search of the truth beyond theatre, where only creativity was sought, asserting the purity of nature and openness and opposing the falseness of society. This phase is known as the 'Paratheatrical' phase of his career because it was an attempt to transcend the separation between performer and spectator. Grotowski attempted this through the organization of communal rites and simple interactive exchanges that went on sometimes for extended periods, attempting to provoke in participants a deconditioning of impulse.
3)Theatre of Sources- (1976-1982)
During this phase Grotowski returned to working with small groups, this helped for his continuous research in human self discovery.
He travelled far and wide across the world, intensely through India, Mexico, Haiti and elsewhere, seeking to identify elements of technique in the traditional practices of various cultures that could have a precise and discernible effect on participants. With the help of good friends helped Grotowski managed to settle in the US, where he taught at Columbia University for one year while attempting to find support for a new program of research.
4)Objective Drama- (1983-1986)
This phase of research was characterized by an investigation of the psychophysiological impact of selected songs and other performative tools derived from traditional cultures on participants, focusing specifically on relatively simple techniques that could exert a discernible and predictable impact on the doer regardless of her belief structures or culture of origin.
5)Art as Vehicle (1986-)
Grotowski was invited by Roberto Bacci of the Centro per la Sperimentazione e la Ricerca Teatrale to shift the base of his work to Pontedera, Italy, where he was offered an opportunity to conduct long-term research on performance without the pressure of having to show results until he was ready.
Here he reached into the past to find old ritual songs that had a deep imp[act on the heart, the head and the body. He wanted the ancient history to connect back to man today and to reach the truth through original rituals.
A quote By Peter Brooks.
"It seems to me," Brook said, "that Grotowski is showing us something which existed in the past but has been forgotten over the centuries; that is that one of the vehicles which allows man to have access to another level of perception is to be found in the art of performance."
Below - Jerzy Grotowski
He was a Theatre Director, Actor Trainer and Theorist whose work was split into 5 phases:
1)Theatre of Production- (1957-1969)
In 1958 Grotowski moved to Opole where he was invited by the theatre critic and dramaturg Ludwik Flaszen to serve as Director of the Theatre of 13 Rows.There he began to assemble a company of actors and artistic collaborators which would help him realize his unique vision. He explored the actor's and audience's relationship, and developed his methods and idea's of what an actor and theatre should be. After a few of his productions it was then his realization now known as Grotowski's notion of 'poor theatre.
Stripping everything away from the actor and stage, to the point of no props, no make up and simple costume was something that Grotowski believed to be real theatre, the bare truth in a sense.
2)Paratheatrical phase- (1969-1978)
Grotowski did not perform after his theatre of production, during this time he took his journey towards self discovery within himself and other actors and groups, there was no audiences during any of these meetings. It was more of a training process in a sense, in search of the truth beyond theatre, where only creativity was sought, asserting the purity of nature and openness and opposing the falseness of society. This phase is known as the 'Paratheatrical' phase of his career because it was an attempt to transcend the separation between performer and spectator. Grotowski attempted this through the organization of communal rites and simple interactive exchanges that went on sometimes for extended periods, attempting to provoke in participants a deconditioning of impulse.
3)Theatre of Sources- (1976-1982)
During this phase Grotowski returned to working with small groups, this helped for his continuous research in human self discovery.
He travelled far and wide across the world, intensely through India, Mexico, Haiti and elsewhere, seeking to identify elements of technique in the traditional practices of various cultures that could have a precise and discernible effect on participants. With the help of good friends helped Grotowski managed to settle in the US, where he taught at Columbia University for one year while attempting to find support for a new program of research.
4)Objective Drama- (1983-1986)
This phase of research was characterized by an investigation of the psychophysiological impact of selected songs and other performative tools derived from traditional cultures on participants, focusing specifically on relatively simple techniques that could exert a discernible and predictable impact on the doer regardless of her belief structures or culture of origin.
5)Art as Vehicle (1986-)
Grotowski was invited by Roberto Bacci of the Centro per la Sperimentazione e la Ricerca Teatrale to shift the base of his work to Pontedera, Italy, where he was offered an opportunity to conduct long-term research on performance without the pressure of having to show results until he was ready.
Here he reached into the past to find old ritual songs that had a deep imp[act on the heart, the head and the body. He wanted the ancient history to connect back to man today and to reach the truth through original rituals.
A quote By Peter Brooks.
"It seems to me," Brook said, "that Grotowski is showing us something which existed in the past but has been forgotten over the centuries; that is that one of the vehicles which allows man to have access to another level of perception is to be found in the art of performance."
Below - Jerzy Grotowski
The Frame
The Frame is the opening scene to our show, it starts with one person speaking and we all one by one interact with this person using a word that sums up what we are feeling. However we are using this word as if to say that they are feeling this, for instance my word is unsettled, my question is " Are you unsettled?" the purpose of this frame is showing how other people can bring out another emotion that you may be feeling, or pushing on there own emotional conflict with themselves onto someone else. It's a very random conversation that leads to self discovery... Or does it?
Each person came up with a word from truth, the word came from a long process of devising our truth. We had to go through a lot of different exercises to reach this truth. One exercises was to draw a picture of ourselves with our eyes closed, another was to write about how we see ourselves, who we are and what helps us through life. All very personal and all that comes from truth. Below are some pictures of the strange picture I drew of myself with my eyes closed, also an idea for the frame!
Each person came up with a word from truth, the word came from a long process of devising our truth. We had to go through a lot of different exercises to reach this truth. One exercises was to draw a picture of ourselves with our eyes closed, another was to write about how we see ourselves, who we are and what helps us through life. All very personal and all that comes from truth. Below are some pictures of the strange picture I drew of myself with my eyes closed, also an idea for the frame!
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