Classical Theatre Performance Assignment –
‘The Man of Mode’ or, ‘Sir Fopling Flutter’
Thursday 11th
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.
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