'ROAD' - Post 02

The First Blocking and Rehearsing Week

Monday 16^th, Wednesday 18^th and Thursday 19^th March 2015

What did we achieve on stage?

     Beginning the blocking and rehearsing of ‘ROAD’ the initial plan was to bring a rough idea of what our movement would be and what our portrayals were to be.  When blocking the staging, we took to rehearse/block in a normal stage space structure with the audience directly in front of the stage.  This structure, however, may not be our official stage structure for our main performance. 

     In previous sessions we looked to how we would stage this production and why.  In a shared group discussion there were many shared thoughts and suggestions to how we could/ought stage ‘ROAD’.  Here is a photo showing a select few of the suggestions made by my class/performance team mates:

 

 

     I personally found these suggestions and plans for a stage structure really interesting.  I really liked the plans they made for how they could use more than just one room, and give the audience a physical journey into this road.  Plus their ideas towards lighting, sound and props really elevated their own visions to what the road looks like.

     But what did I suggest the stage structure should be?  When looking to other professional stage structures for inspiration, I looked to ‘Shakespeare’s Globe Theatre’ and ‘the Nuffield Theatre’:

 

 

     What particularly struck me about these stage structures was their structure of bringing their audiences “in the round”.  I felt this would be a perfect stage structure for our performance of ‘ROAD’; as it would give the audience visual chance to see the journey of the ensemble of characters.  Therefore I constructed this stage structure plan:

     I found that having this “in the round” structure will also embrace the audience into the productions characters, as I did notice a pattern within ensemble of characters.  While all different and unique in the character’s personalities, there is a link that they all suffer and struggle within their society.  Whether struggling socially or economically all of the characters are under stress and/or concern about their, non-productive, future.  Therefore I felt an “in the round” structure would be able to help the audience embrace their struggles and reflect the time of society.  Plus in my plan, I labelled several messy props and pieces of furniture placed randomly on stage, thereby giving a visual interpretation of how far these characters have fallen.  As well as a singular lighting plan (to reflect a street lamp) and show the dark atmosphere that is within this productions plot line.

     Our main performance’s stage structure plan hasn’t been confirmed, but the session proved to be a success as we all gave a constructive understanding of the themes and meaning within the play and showed our liking to the play by constructing many unique and outstanding stage structure plans.

What did I achieve ‘character study/development’ wise?

     When blocking my character’s scene in rehearsals I did achieve a better understanding of the character.  Previously from little glances and read through of ‘Jerry’s’ monologue I felt this character was socially awkward.  Plus with his mentions and references of him doing time in the ‘RAF’, I found that the character was “home sick in his own house”.

     However when blocking ‘Jerry’s’ monologue scene we all found his mentions of a possible girlfriend: “And you’d go to your girlfriend’s factory.  And they’d send someone up for her”.  We found that this could be an indication that he has lost a loved one.  This gives me a strong starting point of understanding my character’s origins.  Plus we found it reflected the feeling that he also struggles economically with his rent money, and is either in dept. or losing the will to live constructively.

     All in all I feel that this was a successful blocking session.  I managed to get a better understanding of my character’s basis and how I could portray him.  However it was a concern that I haven’t learnt my lines yet.  While we are still in the early process of the production process, this has given me the eagerness to learn my lines so I can strongly focus on other production elements in time for the main performance.

Actor’s Log:

     What did we achieve as a production performance ensemble?  We achieved a better understanding of the following:

·         How we could adapt the stage structure to enhance on all the production elements.

·         How we could reflect the dark and gloomy style/atmosphere of the play on stage.

·         What theatrical aesthetics stand out the most for us performers, such as looks, smells and feels (very dark and gloomy, greasy and unhealthy, and horrendous).

     What did I personally achieve in this blocking week of the production process?  I achieved the following:

·         A better understanding of the progression of the plays storyline and how the characters evolve/develop.

·         A better understanding of my character and how I can, and should, portray him on stage.

·         and How to perform in a Northern Accent.

     How did I learn how to perform in a Northern Accent?  In a voice session we began to learn and understand how to perform and adapt vocally into a Northern Accent.  I a series of drama games we learnt how to turn ordinary phrases/sentences and project in a different (in this case) a Northern Accent.  The process was entertaining and interesting, as speaking in this particular accent requires the loss of certain letters in order to achieve a decent realism effect vocally.  These loss of letters consisted of:



     When projecting these words and sentences I did find it difficult at first to achieve a perfected Northern Accent, confusing the accent with further northern accents such as Scottish.  But I feel with a little time and practice I feel I can achieve this accent.  Plus once I learn my lines off by heart I will be able to express true emotion while upholding the accent.  Another fun little exercise we did focused on how distinctive the vowels can be projected through a Northern Accent:



     We projected the vowels in the way a child would when learning the alphabet, it gave us a better understanding of how to truly project the little details within a Northern Accent speech/vocation.  Therefore, for future reference I aim to learn my lines, and once I’ve accomplished that, I will use these exercises to adapt my lines into a Northern Accent to add a sense of realism and bring my character to life with true intention.