Audio Ensemble
Performance
Tuesday 5th – Friday 8th January 2016
Returning after a short break we proceeded
with the rehearsal process. With our
minds fresh, full of our previous research, we initiated what we already learnt
and put our skills to the test and see if we could bring the play to life, as
early as possible before the performance date.
Rehearsals
Establishing the plot, setting,
characters, and tone of the radio play we set about making our performances all
the more reflective of what we currently knew.
Focusing on the first half of the play we worked:
·
Pacing
·
Vocal Structure
·
and Questioning our
Characters
Pacing wise, we knew that the radio play
was to be thirty minutes long, therefore timing was essential to this play, but
how were we going to pace it? We, as an
ensemble cast, agreed that the play had a dramatic progressive tone; therefore
we wanted to reflective the rather serious and dramatic build up to the tragic
climax of the play. We took the pacing
to lower structure, while select lines and dialogue moments needed a fast pace.
An example of this would be found in SC10
Page 19; “John: Saying dirty… I’m not sure I… you mean when I said- Lovvie: You say it again and you’ll get a
smack in the mouth!” It is in dialogue
like this, that the pacing needs to increase a little, in order to establish
the thought process of the characters and enhance the dramatic, as well as a
hint of humorous, tone.
As for the rest of the play, we will be
taking a slow pacing structure to ensure detail and realism in the characters
speeches. Taking time to explore the
setting and characters in a way where the audience will truly envision the
story. Plus, we would be constantly
hinting towards the dramatic build up towards the tragic ending, making the
audience response all the more effective.
Vocal structure wise, we had to take our
scripted lines apart. Piece by piece we
would be able to understand our character’s thoughts and feelings throughout
the play, and project the truth vocally.
Staying as closely as possible to the pacing of the play, we knew to
take our time, to articulate each letter and, project exact emotion to ensure
truth and efficiency in our vocal storytelling.
Now, to questioning my character, I took
note of several questions, on several performance elements of mine, and these
questions I aim to answer in the future when studying and profiling my
character John:
1)
What does John
want?
2)
Why is John helping
Lovvie?
3)
What does John hope
to get out of this?
Response to the Script
After various read through and rehearsal
sessions, I wanted to give my personal response to the script, having more
background info about the play itself.
Staying truthful to my initial response, I am still fond of the
play. What do I like specifically?
·
The Characters – with each having a unique quality and story to tell I like each of
their roles and the impact the plays events have on each of them.
·
The Setting – I particularly like where this play is, I do find a story more
relatable when you can truly envision where it is.
·
and The Climax – reading through this play time after time, I do get strongly attached
to these characters so when the play concludes it is a little heart breaking to
see not all dreams come true.
Taking in all these notes, I hope to
reflect my love for this script vocally to ensure detail and entertainment for
our audiences.
Response to my Performance
To conclude this week of rehearsals I gave
myself several feedback notes on what I felt I was doing well and not so well
in my performance. My aim was to
establish these positives and negatives as soon as possible to ensure a better
progression in the rehearsal process, in time for the main performance. My self-observation notes were:
Positives:
·
Good pacing.
·
Understanding what
the character is feeling.
Negatives:
·
Hesitating on certain
lines/sentences.
·
Inflicting more
passion in John’s lines.
·
Picking up the
pacing for Lovvie and John dialogue.
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