'The Man of Mode' - Post 07

Classical Theatre Performance Assignment –

‘The Man of Mode’ or, ‘Sir Fopling Flutter’

Tuesday 23^rd – Thursday 25^th February 2016

Character Study

Name – Harry Bellair (Young Bellair)

Age – 25 [Born at the end of the English Civil War, 1651]

Hometown – Hampshire Countryside [Extracted from Act III, Scene 2, Page 22: “What a dreadful thing ‘twould be to be hurried back to Hampshire?” – Young Bellair, admitting he prefers the countryside to the city.]

Relationships – Old Bellair (Father) – Lady Townley (Aunt) [Extracted from Act I, Scene 1, Page 12: “I am commanded by my father to meet him at my aunt’s this very afternoon”.] – Emilia (Lover/Wife) – Dorimant and Medley (Best Friends)

Hobbies – Attending the Theatre [I devised the scenario where the theatre was where he met Emilia] – Spending Time with his Friends [As seen through his attitude/relationships with Dorimant and Medley] – Drinking [As seen in Act IV, Scene 2 the drunken scene with Bellair, Medley, and Sir Fopling] – Singing [As seen in Act IV, Scene 1, Page 41: Singing ‘Landlord Fill the Flowing Bowl’].

Dislikes – His Family/Father’s Reputation

Objective – To marry Emilia (the woman he loves) [Young Bellair and Emilia conclude the play with their marriage in Act V, Scene 2: “How say you, sir?  Is this your wedding-day?” – Old Bellair.  “It is, sir.” – Young Bellair].

Hot Seating

     To put our understanding of both the play and our characters we devised a ‘Hot Seating’ session involving improve exercises. 

     Our first task was to bring in an object.  The object had to have a significant meaning to our character; whether the object had a significant meaning to our character’s motivation, objective, or personality it was up to us, and using our improvisation skills we would have to answer any and all questions concerning our object in character.  This is what I achieved:

What was the object? – A Handkerchief

What does the object mean to Young Bellair? – The handkerchief, to Bellair, represents the secret love between him and Emilia.  It was given to him by Emilia, after they first met at the theatre.  With their love being secret, Young Bellair always carries the handkerchief to remind him where his heart belongs, and it gives him courage to stand tall and take his father’s verbal abuse.

Why did I choose this object? – I personally pictured Young Bellair and Emilia first meeting would have been at the theatre watching a re-telling of William Shakespeare’s ‘Othello’.  One crucial element of symbolism in ‘Othello’ is the handkerchief; in the play Othello gives his wife a handkerchief to symbolize their love for each other.  However, when Othello finds the handkerchief in the possession of another man he feels betrayed, believing his wife cheated on him, causing a great tragedy.  That is what I wanted to achieve with this handkerchief.  After seeing ‘Othello’ together and falling in love Emilia gives Young Bellair her handkerchief and he uses it in the same manner of representing their love.  Plus I imagined Young Bellair to be a passionate and loyal young man, so he would have taken the handkerchief swearing to Emilia he will love no woman but her; thereby enhancing their relationship and his character’s motivation.  

What kind of questions was I asked?

-          Why does Young Bellair keep the handkerchief? – to remind himself that his heart belongs to Emilia.

-          Does the handkerchief have an effect on his relationship with his father? – yes, because Old Bellair desires to marry Emilia as well, it causes more tension between the father and son, but the handkerchief gives Young Bellair courage as he knows not to be a boy all his life and stand for what he loves.

'The Man of Mode' - Post 06

Classical Theatre Performance Assignment –

‘The Man of Mode’ or, ‘Sir Fopling Flutter’

Thursday 11^th February 2016

Character Status

     Stepping aside from text and stage analysis sessions, we took the opportunity to analyze the characters.  In particular, character statuses.

     A familiar technique to devising a characters status is classing their posture; one being a poor/lower class status, and ten being a tall/higher class status.

     Our first task was to interpret our characters, for ‘The Man of Mode’, using this character status grading system.  Having been double cast, it was my job to analyze the statuses of both my characters and physically project their stereotypes, and this is what I achieved:

·         Young Bellair – Status: 8 – Stands tall and upholds a posture to show confidence and hide any past pains to enjoy his time with friends – In some ways reflective of the Commedia Dell ‘Arte character ‘Pulcinella’, while less similar character arch wise, I see similarities in their presentation in that they can be deceiving at first glance and may have more to them:

·         Handy – Status: 4 – Reflective of his servant status Handy upholds a posture that shows decent presentation with a hint of boredom and frustration with his position as Dorimant’s “valet-de-chambre” – In some ways reflective of the Commedia Dell ‘Arte character ‘Harlequin’, while less comedic, the posture upholds the shy and unfortunate character type that both characters share.

Movement Workshop

     Once we understood our character’s physical statuses, it was not our job to put them to more with more movement:

·         Pacing – as a Restoration period gentlemen I would uphold my tall standing posture and pace about with presentation.  The presentation of a gentleman would include; leading with the hips, for the ladies to observe; chest upwards, to show masculinity; and chin high, to look down on any lower class citizens.

·         Responses – as a posh and well-mannered gentleman pacing around the town there would come the need to response to something or someone.  Responding to the arrival or another gentleman friend on would bow keeping eye contact and perhaps pursue a conversation.  The same would occur when responding to a gentlewoman, with an exceptionally slower bow (depending on the character’s relationship with each other) and show respect to uphold the well-mannered status.  However a response to a lower class character would not include a bow and perhaps a look of disgust and the need to walk away.

·         Reactions – in contrast to responses, a Restoration gentleman would give more sharp and precise reactions to things they did/didn’t like.  For example, if a gentleman passed a gentlewoman he had had previous affairs with then a little smile/bow would inflict such tension and intrigue between the characters.  While a reaction to a lower class character can be show in two different styles, one being a look of disgust, with their hands gestured towards their mouth.  Or even a laughing reaction to show how they find people below them humorous.  But another reaction a Restoration period gentleman would show would be towards an individual they do not like, this could be show by a sharp turn away from their foes direction, or even a quick bow, to show that you do not want to be near them and despise them.

·         and Status – but throughout these acts, the performer has to uphold their characters physical status.  Only through this can the audience witness a true character at work.  All reflective of the stereotypical high class characters of that time and enhancing the entertainment value.

     Through this workshop I gained an exceptional amount of support towards the understanding of my characters and how to move as a restoration gentleman.  All notes I will uphold for the main performance.

'The Man of Mode' - Post 05

Classical Theatre Performance Assignment –

‘The Man of Mode’ or, ‘Sir Fopling Flutter’

Tuesday 26^th – Thursday 28^st January 2016

Act Three Run Through

     In contrast to Act Two, Act Three has a more pivotal role for ‘Young Bellair’.  In Act Three, Scene One we a see a more playful side to the character; as he meets his marriage partner, ‘Mrs. Harriet’ (a marriage arranged for them by their parents) and instantly they agree they do not want to marry each other:

“Harriet:        With all my heart; I never thought I should have given you mine so

willingly.  Here I Harriet-

Bellair:           And I, Harry-

Harriet:          Do solemnly protest-

Bellair:           And vow-

Harriet:          That I with you-

Bellair:           And I with you-

Both:               Will never marry.” – Act 3, Scene 1, Page 22

     I instantly became very fond of this scene.  Not only are we introduced to ‘Mrs. Harriet’, but we’re also shown an extent to ‘Young Bellair’s’ playful personality, and physically this scene is very humorous.  After the characters introductions, they together plot to tease their parents into thinking they do love each other (when we, the audience, know they disagree with their arranged marriage).

“Bellair:         what think you of playing it on booty?

Harriet:          What do you mean?

Bellair:           Pretend to be in love with one another; ‘twill make some dilatory excuses we may feign pass the better.”

     What follows is a scenario where both ‘Old Bellair’ and ‘Lady Woodvil’ enter and witness their children fake acts of flirting.  Physically this scene tested our understanding of how to move using ‘the Language of the Fan’.  As many of the scripted lines depict that both ‘Harriet’ and ‘Young Bellair’ use physical gests to confuse and tease their parents:

·         “At one motion play your fan, roll your eyes, and then settle a kind look upon me.” – To give the impression to their parents that ‘Harriet’ finds ‘Bellair’ attractive.

·         “Now spread your fan, look down upon it, and tell the sticks with a finger.” – To give the impression that she wants to meet him at a certain hour.

·         “Clap your hand up to your bosom, hold down your gown; shrug a little, draw up your breasts, and let ‘em fall again gently, with a sigh or two, etc.” – All gests giving the impression that ‘Harriet’ finds ‘Bellair’ both attractive and romantic.

     All acted to tease the parents bringing more comedy to the audience’s perspective of the play.

Response to the Language

     Having run and analyzed the first three acts of ‘The Man of Mode’ I have become rather fond of the written language.  While in our first read through I struggled to understand both the plot and character’s dialogue, but I am becoming more familiar with it and I feel I will improve my understanding as the production process continues.

     I find the 17^th Century Old English has a select few similarities to Shakespearean text.  Excluding words such as: ‘tis, thus, prithee, and abide; I find that (especially for the purpose of learning lines) Shakespearean vocal techniques can also support my delivery of this particular Old English language.  These vocal techniques include:

·         Iambic Pentameter Pacing – this vocal technique can also be referred to as “Beats Per Minute” as its method is to assist the performer with their pacing and delivery structure of the lines.  Almost as if there is a rhythm within the written text and the performer’s job is to bring that rhythm to life through their performance.  This technique is primarily used in Shakespeare’s work, but I find that it can also support Old English writing structures.

·         and Old English Diction – it is always crucial that the performer knows what they are saying on stage, otherwise how can the audience understand/enjoy the performance when the performer doesn’t even understand the piece.  Therefore I have made it my main job role to analyze all of my lines to ensure that I not only give clear pronunciation but clear understanding of what I am saying as well.  There are a select few sources of inspiration/support towards achieving this (for example ‘No Fear Shakespeare’), not only that but through research towards modern character types, similar to our characters in the play can support understanding and progression throughout the performance.

Iambic Pentameter at work - https://www.youtube.com/watch?v=0Qv-sjQHgZ8

Audio Analysis

Audio Analysis

Radio Drama

     Mike Bartlett’s ‘Cock’, starring Ben Whishaw: https://soundcloud.com/delilahdevinkaufman/bbc-radio-3-presents-mike

Sound Effects – Because of this play’s naturalistic style and focus on the character’s relationships, the background sound effects are not as visible as various other radio plays.  While in contrast, a radio play would use sound to enhance the environment picture.  But in this play it is used to a good effect where the audience is more intrigued by what the characters look like and has a decent idea of where they are.

Use of Music – Similarly to the sound effects, there is little to no music in this radio play, and this comes to a great effect.  With the minor uses of music and sound effects and the major use of vocal performance, audiences are instantly engaged to the tone, characters, and atmosphere of this play.  This dark, and rather depressing, matter that the play covers suits the silent and slowly paced structure of the radio performance.

Effectiveness – I felt that the audio performances were exceptionally effective.  I was intrigued by the characters relationships and their development throughout the play.  Plus with the performer’s relationship to the microphone, I really got the sense of the character’s surroundings and the emotional weight that pushes the characters throughout the play.   

Did the programme hold your interest? – Yes, I wanted to know where the characters were going to go, and what the conclusion would hold.

Did the programme create the right atmosphere? – I personally pictured a dull atmosphere that reflected and best suited the dark tone and character traits of the play.

Audio Book

      Audio Book extract from the novelization of 'Star Wars: The Force Awakens': https://www.youtube.com/watch?v=zv-WpM9Dvqc

Sound Effects – I personally found that the use of sound effects in this audio extract was over-used.  While the audio quality isn’t at the best of standards, I found it rather hard to contrast between the reader and environment sounds.  While the sound effects were effective in the sense that they would help the audience picture the fantasy environment.  However they were also a negative as they could distract the audience from the narrative and story details spoken by the reader/narrator.

Use of Music – Similarly to the sound effects, the use of music was over-used.  While a little more effective, in the fact that music built to enhance tension and the arrival of villainous characters, all in all it still offered as a distraction to the main narration.

Effectiveness – While the quality of the sound wasn’t up to high standards, and the quantity of sounds effects were overused, I still found myself intrigued by the narrator.  I found his ability to contrast vocally between narrator and character was used to a great effect where I wanted to listen to more.

Did the programme hold your interest? – Yes, the narrator’s vocal adaptability was used to a great effect I wanted him to read on so I could hear the rest of the story.

Did the programme create the right atmosphere? – Yes, while overused the sound effects and music did their purpose and created the environment of the fantasy world.  Backed up with the narrator emphasis on key words or lines of dialogue I was rather invested in this story.

Talk Show

     BBC Norfolk 'New Comedy Show': http://www.bbc.co.uk/programmes/p03ks27m#play

Sound Effects – The use of sound effects in this comedy radio talk show came to really good effect.  While on some occasions it may be overused, I found it supported the shows light hearted tone and environment.  Often used during transitions and/or for joke purposes, the sound effects I felt were used to a very good effect.

Use of Music – In contrast to sound effects, the use of music was brought to a minimal.  While some music was used to introduce new guests, or to enhance a joke, or take a break away from the interviews, it was not as prominent.  Again, I felt this was to a good effect, because it kept audience members focused on the interviews/conversations of focus.

Effectiveness – Because of the performers attention to detail and vocal connection with the microphones the comedy was only enhanced.

Did the programme hold your interest? – Yes, I found myself enjoying the jokes and conversations between these various personalities thanks to their connection with the audience, or in this case the microphones.  What I admired the most was their vocal range and adaptability that was the perfect quit for this talk, all to the extent where it wasn’t overwhelming for the audience.

Voice Reel

     Thomas Martin RADA Student voice reel: https://www.rada.ac.uk/profiles?aos=acting&yr=2016&fn=thomas&sn=martin

Sound Effects – With Thomas Martin’s vocal adaptability and infliction I personally found that there was no need for sound effects.  I was invested by his performance, so much so, that I felt there was no need to enhance the scene with the use of sound effects.

Use of Music – Again, much like the sound effects, there was no music involved and/or needed.

Effectiveness – I was particularly fond of Thomas Martin’s performance adaptability, in taking on a range of various characters and settings, and his connection with the microphone was used to an effective state where I wanted to see his performance abilities in person.  His character infliction and projection range brought investment into the characters and story, resulting in me wanted to hear more from the voice reel.

Did the programme hold your interest? – Yes, I was amazed by Thomas Martin’s vocal performance and enjoyed listening to the monologues/speeches.

Did the programme create the right atmosphere? – Yes, I felt his performance ability was used to an exceptional level that I had a clear image of each of the monologues/speeches environments and I wanted to see/hear more.  Plus I felt it was used to a good effect where the environmental picture wasn’t distracting audiences from the main purpose of the voice reel.  The main purpose being to show Thomas Martin’s vocal performance abilities, and it succeeded.