Audio Ensemble
Performance
Tuesday 19th – Thursday 21st January 2016
Stylised Performance
With rehearsals coming to an end, we
analysed our performances based on what we have given to the piece and what we
hope to achieve out of this radio play.
Firstly, we looked to our interpretation of the piece and questioned the
performance style and our abilities as the performers.
The style of this performance, ‘Atching
Tan’, is shown through the perspective of young adult female lost between her
passions and her inevitable future. The
play has a modern day setting, located in the south of England (UK), and shows/questions
the relations between neighbouring lifestyles; the life of a gypsy traveller
and the life of an educated young man. Therefore
this radio play would be performed in the style of naturalism.
Vocally, the performer can cover accurate
vocal traits that come naturally, in response to the characters thoughts,
meaning the emotions will be reflective and meaningful to bring the play to
life.
An exceptional example of naturalism in a
radio play, I found, was in the audio adaptation of Mike Bartlett’s ‘Cock’,
starring Ben Whishaw:
As stated in the introduction before the
radio play, the story follows the need and frustration of sexual desires. Such character emotions and thoughts thrives
these people to progress throughout the story.
Therefore a naturally driven performance supports an audience’s
connection to the characters and the story.
If exaggerated or stylised in any sense then, the audience may lose that
connection. Plus, naturalism gives the
performances the opportunities show their vocal adaptabilities to bring every
day, or unique, circumstance/situations to life in such a way that brings the
image to life in the mind without giving us any images.
Thus our performance style of ‘Atching Tan’
shall be through naturalism to enhance the images of the setting, the
characters, and the situations for our audience. Plus we as performers can test our
understanding of the play through vocal traits that best suit the scene; for
example, Lovvie and Nelius’ conversation in the church in SC 19 Page 34, gives
the sense of whispering within their dialogue.
As well as the tension between John and Nelius in SC 23 Page 41, the
voices could be raised to a louder tone and deeper pitch to enhance the
dramatic tension.
All of these notes support the enhancement
of the images of what is happening and tests us performers to bring the play to
life with exceptional intention.
Response to Performances
One of our main goals this week was to
observe our own voices and take note for any self-observed feedback, that could
help our individual performances. In one
of our rehearsal sessions I recorded, several scenes and took note of my
performance:
Within the first few minutes of this clip,
I noticed several positives and negatives within my vocal performance.
Positives:
·
Establishing the
pacing of the scene.
·
Conveying the
setting image across to our upcoming audience.
·
Showing select
emotions within John’s character.
Negatives:
·
Lisping within my
projection.
·
Lacking in
articulation.
·
Conveying minimal
emotions towards Lovvie.
In summary, I wasn’t too pleased with my
performance during this rehearsal session.
There seemed to be more negatives than positives. I personally set about a goal, to work extremely
closely on memorising lines, to allow fluency in the main performance, plus
practicing facial warmups and tongue twisters may support my projections and
articulation. Through this I will be
able to bring John to life with accurate and true intention.
Performance Feedback
Supporting my self-observation, I took
note of several peers giving me performance feedback. Once again these are areas that I will focus
on and rectify in time for the performance.
The feedback notes consisted of:
·
Minor emphasis
behind stronger lines.
·
Give more passion
to convey John support to Lovvie.
·
Pace my lines to
extend that isn’t rushed or slow.
·
and Show more remorse
and sympathy for Lovvie.
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