Devising Assignment Week 1

Assignment Brief – ‘Ode to Billy Joe’

Thursday 8^th January 2015

The Second Assignment

     Our second assignment brief, yet our first Devising assignment, having had previous session exploring the many different types of Devising Physical Theatre and understanding what it is like to work in a devising process, I was eager to get underway in this assignment.  Beginning with a brief scenario of how this assignment was to play out (in three different groups we were to give three different devising pieces towards the same stimulus) and what we would get out by taking part in the main performance.  Having been told that out stimulus was to be a song; we went straight into the first stages of the assignment titled ‘Ode to Billy Joe’.

      To begin with we began to take notes of our first reactions to our stimulus and what we could use, Physical Theatre elementary wise, to bring a performance piece to life with this song.  The link below gives the lyric to the song ‘Ode to Billy Joe’ by Bobbie Gentry:

http://www.cowboylyrics.com/lyrics/gentry-bobbie/ode-to-billie-joe-13490.html

     In my text book I gave my initial response to the song, and later we were to be placed into three groups and we would have to explore the song together in more detail and explore how we are to perform the devising piece in these three groups.  My initial response listed as follows:

·         A soothing tune to open the song.

·         The lyric tell the story of a troubled family.

·         The story is located at a farm.

·         Lyrics possibly representing a characters diary entry.

·         Other characters mentioned being concerned family members.

·         Lyrics being very detailed in the locations and other depicted characters.

·         The theme of suicide throughout the story within the song.

·         Hinting at a love relationship between key characters.

·         and The possible loss of a child told within the story.

     After hearing the song twice I did find it difficult to analyse this particular song, but these note are what I extracted from the song.  But what I got, I feel got the rough nutshell sized summary of the story behind the song ‘Ode to Billy Joe’.  Therefore we had a brief discussion, to share what we all thought of the song and what it could potentially mean.  The discussion came to an end and we came into our groups to begin the plan of action towards future devising sessions.

     In my group our main areas of focus were; the themes within the song, which we could transfer onto the stage.  As well as all the potential characters within the songs storytelling, and what each of them could represent on stage.  But the main question that bugged us was who and what is this Billy Joe?  The discussions and debates went on for what seemed as hours upon end, and the spider diagram grew and grew.  Until we came to some agreements.

     With some help from our teachers, as we went to great depth into the themes and meanings of this one song, we managed to find a performance piece to relate to it.  Our key relation was with the famous play ‘An Inspectors Call’, as one key element of that was with the fact that the Inspector was playing with the characters minds.  Could it have been real or falsified to gain the guilt and understand the moral of responsibility.  We agreed we could refer back to this when creating characters and relating them to this ‘Billy Joe’.  But the main points of agreement were:

·         Billy Joe wasn’t to make a Physical appearance. - We agreed that Billy Joe was to be link that held our character’s together, as in Billy Joe being a vision of their imagination that could draw these characters to do wrong in their lives like suicide or downfall of their lives and mental being.  Plus we all agreed it would be affective if Billy Joe wasn’t performed by one actor, and was performed by everyone on stage to show that even though it is essentially the same person to each of these people, all the characters have different interpretations of him.  In different vocal formations, different standing postures, and even different views on the world.  We all hoped this would give a good effect toward our audience as well as potentially show how the human imagination works in different visions of the same thing.  

·         Each of our characters can represent something that affects society today. – One of the first questions that bugged us was why did this certain character commit suicide?  We ended up believing that Billy Joe could have been a character that bullied a certain character to do something that drove them mad.  Like a homosexual character could have been driven to suicide because they were battling for their sexuality and Billy Joe was a character that kept bringing doubt into their minds, leading to their suicide.  As linking into the first point of Billy Joe being a fragment of their imagination, this could be all the more effective in giving our characters sense of complexity as well as show multiple emotions that audience members can relate to.

·         The song should be played at the end of the performance. – A simple yet effective point made in the planning for the main performance, was to be whether we would use the song or not.  We agreed it would be a bad idea to use the song to open the performance, just in case any audience member could predict what we could physically show that represented the morals behind the song’s lyrics.  Therefore we decided to have the song as the conclusion to the performance, just to give the audience that realisation as to what they’ve witnessed and understand how the song is truly the stimulus behind the devising piece.

     There were many points made in our endless discussion and there were many places we could take towards the upcoming performance.  Although we didn’t get any practical work done in this session we certainly gained a great starting point and understood all we needed to know for when we started practical work for the performance.  I personally look extremely forward to the future devising session and seeing how we develop this to be a great physical theatre performance.

     Here is a photographic image of our spider diagram exploring in depth ‘Ode to Billy Joe’ by Bobbie Gentry:

 

Physical Theatre Research Blog 04

Continuing Devising Work

Monday 5^th and Wednesday 7^th January 2015

What should theatre be?

     Returning to a new term, continuing our devising work towards Physical Theatre, our main focus this week was to understanding the devising process and answering a question, ‘what should theatre be?’

     The warm up exercises were simple and effective.  Serving in two purposes to get us physically and mentally prepared for the session ahead.  But together in a group discussion our teacher gave us a sheet of paper giving us the top 10 devising process tips, in order to succeed in devising workshop pieces/productions. 

     Knowing where to begin is essential for devising physical theatre.  As traditional theatre likes to take an academicals, step by step, process in order to create perfection with their productions.  Whereas Physical Theatre likes to take a more effective process that involves three essential areas, a Stimulus, Originality and Improvisation.  

Stimulus                        This is a starting point for the performers as it gives them something for

them to work off.  For example, a song, a picture, a person or even a book.

Originality                     It is important for the performers to have originality within their work, in

order to keep their work unique and intriguing for their audience.

Improvisation               A great talent within the performing arts, this element comes in extremely

useful for devising work.  Because it keeps the practical exercises/processes

energised and it allows every group member to participate and bring their

main performance piece to life the way they all intend.

     After knowing and understanding these key areas once again, we then proceeded to answering the questions: what should theatre be?  The purpose of this task, I think, was to show our passion and understanding of theatre, by answering these questions we would be showing interest towards future topics concerning theatre and devising theatre for that matter too.  My initial answer was:

     ‘The chance to break free from reality’ – This gained a good response and I personally was quite proud of this answer.  Because I always imagined theatre and productions as being a chance for audiences to break free from the real world and witness another characters life, whether factual or fictional, it provides them with entertainment and frees their minds to wonder and imagination.  

     But how?  This was our next question, again linking into the first question, showing how we would make our interpretation of what theatre should be a reality.  So my answer for this question was:

     ‘Creating convincing and engaging productions’ – Only through convincing performances are the audience truly engaged and entertained.  Sure they can be entertained from pantomime productions, but that form of theatre constantly reminds you that you’re watching a play.  Whereas mature and well-structured productions take a process that truly bring the audience into their characters’ lives and provide seriously engaging entertainment.

     I felt this session was a success as we all gave mature answers to the questions and showed deep understanding of the process into devising theatre (and I will take the tips into account for our main devising piece).

 

The Pacing Exercise

     It was in this session that we now to begin a slight analysis of our own movement piece, in the same style that devising physical theatre analysis is taken.  Instructed to pace around the room, in no particular style, in neutral, and without making eye contact with anyone else, we did so and awaited more instructions to create a movement piece.  Our instructed listed from:

1)      Begin to make eye contact with everyone, without making any physical contact.

2)      Choose someone in the room and follow them, without them knowing you were following them.

3)      Then reduce the distance between you and your chosen victim.

4)      and Finally make physical contact with you victim, making it obvious who your following.

     As we concluded the pacing around the room, there wasn’t much I could analyse from it, but our teacher gave us a secondary task relating to the pacing.  Taking notes we began to write what emotions we could feel both when we knew who to follow and when we knew were being followed.  We all agreed that the following of a victim gave a slight sense of a stalker-type-character to our motivations.  I strongly agreed, in fact the main emotions I was feeling throughout that exercise were:

1)      Awkward – Especially when each person came closer to their victim.

2)      Claustrophobic – Which lead into the movement of us getting closer into a physical ensemble.

3)      Tense – Particularly when the tension arose in the room when knowing each of us were being followed by somebody else.

4)      Eagerness – Bizarrely I did feel a sense of eagerness to get to closer, and keep up, with my victim, which I felt kept a good sense of humour within the room and made the exercise more entertaining.

5)      Worry – As the exercise came to an end I did feel deeply worried for two reasons, firstly being I didn’t want to lose my victim amongst the crowd, and secondly I didn’t want my stalker to catch up with me. 

     I gained mixed emotions and feelings throughout the exercise, but all in all I did strongly feel eagerness most of all, as well as entertainment.  But when continuing the writing exercise we all wrote a sentence that summarised what we felt, and through specific instructions we took away many of the words and highlighted three words that I felt summarised the negative emotions that I gained, or anyone, could gain from this exercise.  My three highlighted words were:

1)      Awkward

2)      Claustrophobia

3)      and Followed

     Using these three words I had to use singular physical movements that defined the word and put them in a repeated pattern.  At first the purpose was unknown, as each and every one of us were repeating three singular movements that were unique to our written text.  But it was all towards our final physical task.

     Memorising our three words and movements, one by one we all went onto the wide space that would represent the stage and all in time with one another we all gave our movements.  Without the use of dialogue, and using singular sounds that defined the emotion, then we were to take a single step after doing all three of our movements and repeating then at a different spot in the room, without interacting with anyone else.  Half way through the sequence I was called aside to watch everyone else’s movement on the stage, and without anyone interacting, repeating the movements and sounds to me it created an image.  All I saw was life. 

     From my observation I could analyse this as a scene of everyday people walking throughout their local town choosing not to interact with anyone and trying to keep to themselves.  It was quite an interesting piece of movement, but what fascinated me the most was its origins.  We began with a stimulus of thinking of what it would be like to step into a stalkers shoes, then extracting certain emotions, turning them into a piece of physical medium, and finally transferring the movement together to form a true movement piece giving off multiple visions and interpretations as to what it could be. 

     It was an interesting and entertaining exercise and I felt it was a brilliant introduction to how to create and analysis and devising piece of physical theatre.

Jaque Le-Coque Part 2 - Week Twelve

Jaques Le-Coq Exercises

Wednesday 10^th December 2014

     Our final session into ‘Jaques Le-Coq’ and his impact on the world of Contemporary Theatre had us take part in several practical exercises.  All of which would help us experience and physically understand ‘Jaques Le-Coq’s’ technique to make the inanimate animate.

The Seven States of Tension

     Before beginning the practical exercises our teacher had us look at seven key areas of the human emotions, all of which cause bodily tensions, plus can tell a story.  The seven states of tensions are:

1.       Exhausted – Knackered, Sloth and Jellyfish-like.

2.       Laid Back – Relaxed, Lazy, Koala-like.

3.       Neutral – Comfortable, No Story.

4.       Alert – Squirrel and Meerkat-like.

5.       Suspense – On Edge.

6.       Passionate – Opera, Powerful, Dog-like.

7.       Tragic – Ghostly and Petrified.

     Referring back to these states of tensions it was our first task to create a story arch within our physical being.  Beginning by walking around the room, emotionless, we firstly showed signs of exhaustion, causing some of our pacing to slow down and bringing us to a standstill or sitting position.  From this we came to a laid back posture causing little to no movement and near silence within the room.  After a little relaxed posture we then came to a neutral state, bringing forth no emotion within facial or physical structure, yet still giving off an imagery of comfort and relaxation.  Then suddenly leading to alert, as if someone or something bad was about to occur, causing slightly faster movement and usage of facial expression to show concern.  But leading to suspense meant that there was to be faster and tense movements, almost beginning a state of panic.  Although passionate came to an extent where we showed emotions physically and mentally of wanting to solve the problem before time runs out.  Yet concluding with a tragic state as the bad event unfolded and we would stand petrified knowing we had failed and fallen.

     I found these exercises to be extremely interesting, as they explored human emotions, yet had a constant emotionless state.  Meaning that audience members would be able to understand the story without the usage of dialogue and facial expressions for reminders.  As we did the practical exercise the bad event was that there was a bomb in the room and we all had to show our states of tensions and responses to other people in the room and the thought of the actual event itself.  I think the exercise was a success and slightly reminded me of the video clips we saw last week.  As the footage showed many performers having no dialogue and facial expressions in their performances, yet connecting with the audience by showing human-like emotions and responses.

Making our own Inanimate Object

     Our final practical exercise of the day had us use devising methods to create a creature or an object of some kind and make it animate for our audience.  Splitting into four small groups we created our inanimate objects using items of everyday use to bring a real creativity to our main performances.  In my group we decided to create a dragon-like creature.  Combining ideas to create a true structure and characteristic state of our creature, we then began to make the creature and bring it physically to life for our upcoming audience.

     I found this to be a really entertaining and thought provoking experience.  We succeeded in bringing our creature to life and showing our audience its several states of emotions towards other objects in the room.  Plus the process was thought provoking because it strongly linked towards our other Contemporary Theatre work.  In devising workshops to bring forth multiple group ideas and suggestions to make an excellent result that was satisfactory to every member of the group.

Physical Theatre Research Blog 03

The ‘Berkovian’ and Forced Entertainment Exercises

Monday 8^th, Wednesday 10^th and Thursday 11^th December 2014

Last Week’s ‘Berkovian’ Introductory Exercises

     Concluding last week’s introduction to ‘Steven Berkoff’ and his impact on devising theatre, we had a little set of exercises to give us a decent idea of what ‘Berkovian’ style is like to behold. 

     Physically we focused on static and clockwork movements throughout our upper and lower body, linking to our exercises in the ‘Alexander Technique’ as we also relieved our bodies of any unnecessary tensions and keeping control over our balance.  This made each movement meaningful and reflected on what it is like to do a ‘Berkovian’ style performance.  Another physical input that I found referenced a little with ‘Commedia dell’Arte’ and that was “looking into the camera”.  Similarly to “breaking the forth wall”, the purpose of “looking into the camera” was to really intrigue the audience, and almost involve them into the production and your performance.  “Looking into the camera” comes in handy particularly in comedy timing as well, shown in professional examples such as ‘Commedia dell’Arte’ and the popular US Sitcom ‘Modern Family’, in “looking into the camera to involve the audience and make the jokes funnier.

     Another area of focus that comes relevant in the ‘Berkovian’ style is the performer’s vocalisation.  Linking back to what we saw in ‘Steven Berkoff’s’ ‘Berkovian’ styled production of ‘Metamorphosis’, the performances were really static and clockwork within their movement, yet their vocalisation was rather monotone and enhanced on the creepy factor.  So in these exercises we all focused on our vowel pronunciations, in order to give real meaning to our dialogue.  Plus we also looked at giving them meaning, for example projecting ‘A’ with a meaning of showing the characteristics of being in love, wanting to sale something, in hatred, and in confusion.  I found that process to be entertaining and interesting, plus it was all put to good use in our final exercise of the week, in having scripted ‘Berkoff’ production extracts and putting these physical and vocal structures/characteristics to good use to see if we can give a short ‘Berkovian-like’ performance.

     In my small group I was cast as the supporting character, and I thought it would be good to give off a posh and slightly camp physical structure, in order to add a sense of comedy and link back to ‘Commedia’.  As well as use a unique vocalisation using the vowels to show my reactions to the other performers on stage.

     The end result was entertaining for an introductory exercise in the ‘Berkovian’ style in devising theatre.  Yet I couldn’t help but feel we could have been better in our performances and in the delivery of the script, plus I wanted to do more on stage.  So I personally wanted another go at these exercises and these styles of devising theatre, and I was growing to really admire and enjoy the ‘Berkovian’ style of physical theatre.

 

Our Interpretation of ‘Legend of Curse’

     Before continuing our practical exercises into the ‘Berkovian’ style of theatre, we all came to a group discussion focusing on two key areas, how do you define Stimulus and Devising?

Stimulus

-          A starting point.

-          An idea.

-          Something to work with; a Painting, a Poem, a Quote, a Question, a Person, or a Story (all to give your interpretation and response to that specific object/devise to create a stimulus).

-          The style of that Stimulus (Physical Theatre).

Devising

-          Non-Scripted.

-          Creating a new piece of work.

-          A Collaborative piece of work (no set directors or ensemble).

     It was these two areas of the production process that were essential in a devising piece of physical theatre, as they ensure a great starting point for an ensembles production to create something new.  Plus it would also ensure maximum detail and efficiency with their conclusive workshop.

     So for this week’s practical exercises we were split into small groups again, with people we hadn’t worked with much before and we were to give our own ‘Berkovian’ interpretation of a script extract from ‘Steven Berkoff’s’ ‘Agamemnon’.  Whilst carrying out the devising process; given something, interpret it, shared response and improvise to a conclusive piece of work.

     Knowing and understanding that this production was ‘Steven Berkoff’s’ inspiration from the tradition ‘Greek Tragedy’ storytelling, including elements of prophecies, family rivalries and graphic imagery.  The script extract we were given was titled ‘Legend of Curse’, the scene was an opening monologue detailing a character’s description of graphic and gloomy execution and murder.

Our Devised Process

-          Our Shared Response; I believe the character to be on his death bed awaiting death’s calling.  While my team members believed the character as a witness of their children or friends brutal and violent execution.

-          Combining Ideas on Presentation; I suggested the use of a ‘Greek Chorus’ to reflect on ‘Metamorphosis’ and give a shared interaction in character and with the audience.  But we separated into two smaller groups and worked on the two key halves of the script extract and improvised our physicality and vocalisation to an extent we believed to be truly ‘Berkovian’.

-          Linking Ideas and References; together me and my partner devised and created two characters representing a married couple having a meal and later receiving the news of their children’s death.  Through our improvisation and thought tracking we devised clockwork and creepy physical movement and characterised vocalisation that we believe would intrigue the audience to a good extent.

-          Combining both groups Work; by joining back with our other half of the group, we looked at what they had created and they watched what we brought to life to see if we could combine our little piece of work together to make a great piece of ‘Berkovian’ work.  I personally loved what they devised from the script, they used the first few lines of the extract and devised a kitchen scene, presenting creepy and gloomy characteristics, to give the interpretation that they are slaughtering and cooking the married couple’s children.  This worked perfectly with our improvised devised work as we were able to put both works in a decent order and change only little details.

-          Bringing the Final Piece to Life; from start to finish our performance opened with the kitchen staff perspective of hatred towards their masters and cooking their children alive.  As well as showing their masters enjoying each other’s company.  Then receiving their children in their meal and concluding with a collaborative sound of laughter with a hint of fear and concern as to what would come of the married couple’s future.

-          The Performance; I personally found the main performance to be a really entertaining experience.  We gave a successful performance, and gave true depth to what we had to present.  Such as the character’s status and setting of the piece, I fell reflected a real Georgian era estate, reflecting towards ‘Commedia dell’Arte’ characters.  As well as keeping a static and creepy vocal and physical structure to constantly remind our audience that this is a ‘Berkovian’ style of production.  Plus keeping a “looking into the camera” element helped us interact with the audience and keep real meaning and purpose to what we were saying on stage.  I was really pleased with the end result as I found it to be extremely entertaining as a practical exercise and as a performance exercise, giving me newer experiences as an actor.

Feedback

-          Good use of emotionless expressions.

-          Enhancing on the creepy factor.

-          Good creation and originality in the characters.

-          Good robotic, silent and clockwork like movement sequences.

     In conclusion I found the whole devising experience to be a real education and an entertaining experience.  I loved working in this devising method to produce an excellent result that both the performers and the audience enjoyed.  Plus it was a real education, in giving me an experience of what the ‘Berkovian’ style if like to work with, and giving me a wider view of the world of devising physical theatre.

 

Forced Entertainment

     Concluding this week we had a look at a famous theatre company that is well known for their collaborative workshops, ‘Forced Entertainment’.  ‘Forced Entertainment‘ is a European touring theatre company that works in improvisation, collaborative projects and works towards creating something new and original out of traditional theatre.  What I really admired about ‘Forced Entertainment’s’ work was their process in creating new projects.  They like to work together and improvise new projects from the simplest of inspirations (stimulus).  Similarly to the process we went through in our practical ‘Berkovian’ projects, except they focus more on the performer’s improvement and keep to a professional standard keeping audience focused on their story telling.  So when we took to looking at practical exercises in ‘Forced Entertainment’, we had to keep a real focus on ourselves, and not create a character and atmosphere around them, we had to keep to ourselves and intrigue the audience in the best way possible, in an entertaining fashion.  Plus with their usage of improvisation that offers them the chance to bend the rules of theatre to create something unique.  By bending the rules I mean constantly “break the forth wall” and actually involve the audience with their projects.

     For more information on what I discovered about ‘Forced Entertainment’, follow the link here: http://sdcperformancefh.blogspot.co.uk/2014/12/forced-entertainment.html

     But in conclusion of ‘Forced Entertainment’ I found learning about their unique methods of performance was interesting and I am eager to have a go in practical excises and experience how their process methods are different from devising processes as well as what the final production piece is like to behold.

Physical Theatre Research Blog 02

Steven Berkoff

Monday 1^st and Wednesday 3^rd December 2014

     For this week we continued our research sessions into the many different types of professional Physical Theatre productions and styles.  But for this particular week we began our introduction and research into the Theatrical actor/director ‘Steven Berkoff’.  Our aim for this week was to begin our research and understanding of the “Berkovian” style of acting and physicality, and conclude the week giving our own interpretation of this devising theatre style.

The Information we Learnt

     Watching short documentaries looking into ‘Steven Berkoff’ himself we all gained a decent amount of information and understanding of what passion ‘Berkoff’ has and why he brings it to theatre.  Within the first few minutes of the documentaries alone, I personally gained a few summary bullet points:

·         Often considered as “The Modern Shakespeare”.

·         Brings a Radical Theatrical Style.

·         Devised Choreography.

·         Berkoff himself Understands Metaphors within the Plays/Stories.

·         A Goal of Articulating what it is like to be Human.

·         Creates something out of the ordinary in Contemporary Theatre.

·         Performers look at the Human Movement, becoming a new form of Language on Stage.

·         Extending out beyond the Natural Flow.

·         Increases the use of Non-Verbal Communication.

·         All Great pieces of Production have Relevance towards Human Emotions.

·         and Brings a Nightmarish Quality to Theatre.

     I personally found these points to stand out particularly, and made me curious as to what ‘Berkoff’ brings to the stage and how he presents his productions to the audience. 

     Linking back to our first week, exploring the characters within ‘Commedia dell’Arte’, I was interested as to how I, as an actor could reform my body at will to embody those specific characters.  Thus engaging the audience and developing the storyline.  Whereas for this “Berkovian” style I was more interested/fascinated as to what the execution of these productions were like, and why most of them have gained positive reviews.

 Watching Berkoff at his Best

     After a short break we returned to watch ‘Steven Berkoff’ at work in one of his best known productions, ‘Metamorphosis’.   Translated as “Transformation”, ‘Metamorphosis’ tells the story of a young salesman who awakens to discover that he has transformed into a large insect-like creature.  Now watching the “Berkovian” interpretation/depiction of the story audiences are instantly shown the “nightmarish quality that is well known with ‘Steven Berkoff’. 

     Opening with four actors (including ‘Berkoff’ himself) on stage, with a greyish gothic colouring to their characters and the setting of the stage, they projected an enhancement of the contemporary theatre elements such as ‘Greek Chorus’ and ‘Shared Narration’.  At first glance I found the opening to be rather intriguing, but without a doubt there was a strong sense of creepy and eerie atmosphere within the play, and amongst us audience members.

      Writing in our text books we analysed the production, looking at these particular theatrical areas: Tableaux, Stylistic Performance, Mime, Movement, Pace, Use of Lighting, Set, Props, Staging, Performers Voice, and Ensemble/Chorus.

·         Tableaux – I found with their usage of Freeze Frames enhanced the dark atmospheric setting of the entire production.  As well as reflecting a slight metaphor in the characters descending into madness.

·         Stylistic Performance – As mentioned earlier there was a constant ‘Narrative Greek Chorus Ensemble’ in the opening of the production.  Intriguing us with its dark mysterious staging and characters.  As well as having an equal amount of clockwork and static movement within the performers performances.

·         Mime – Once again the clockwork and static movement between the characters was really descriptive, in showing us the relationships between themselves as well as what their status is within the family.  All the more engaging us wondering what will happen next.

·         Movement – There were two areas of movement within ‘Metamorphosis’ that really stood out for me in particular.  The first one being its engaging clockwork and static chorus movements between the characters in the opening ensemble speech.  I found this to be extremely engaging and interesting for my first introduction to the “Berkovian” style.  But the second piece of movement, that I found extraordinary and genius was the transformation movement scene, where the lead character turned into the giant insect-like creature.  I loved this piece of movement because it was extremely static in each twitch of his body, and he shaped himself in many ways and formations that almost seemed inhuman, making this standout scene all the more interesting, entertaining and jaw-dropping to behold.

·         Pace – At first I was beginning to see the pacing as an issue, as it was rather slow, but as the production went on I found it to be a real bonus for ‘Metamorphosis’.  Beginning slowly allowed us to understand what we’re in for and embrace the sudden and unusual creepy and eerie settings of the production.  Plus it enhanced the clockwork movement effects in the performances.  But it was taken to a faster pace for dramatic effect, which I felt was genius and was used to good effect to ensure we got every little detail.

·         Use of Lighting, Set, Props and Staging – Similarly to the pacing of ‘Metamorphosis’ I found there was a lack of lighting, sets, props and staging.  It was all kept to a minimal.  The lighting was very dark and gloomy to reflect the atmosphere.  The set wasn’t at a large size.  Miming was used more than actual props.  Plus the staging was all based around their movement.  But as the production went on I found this to be a real bonus and supported the production vastly, to get every detail to their audience and ensure maximum engagement.

·         Voice – I found that each performer on stage shared/kept a monotone variation, as well as low pacing.  I believed the purpose of them speaking like this was to enhance on the creep factor and ensure that all eyes were on them.  But one change of voice that I found the most excellent was the vocal change as the character became the giant insect.  I felt this enhanced on the physical changes he was going through, plus reflected a descending into madness.

·         Ensemble/Chorus – All performers on stage kept a real narrative collaboration to constantly engage audience members into the current affairs on stage.  As well as giving a collaborative reflection of the characters emotions.

     But in conclusion I found the “Berkovian” physical theatre style to be interesting and intriguing to the extent that I enjoyed and admired the creepy elements within the production.  Therefore I was interested to experience a first-hand practical exercise of the “Berkovian” theatrical style, giving me a wider view of the many physical theatre styles and what I can embody, as an actor, to take part in these production styles.

Forced Entertainment

Forced Entertainment

     A touring theatre ensemble known as ‘Forced Entertainment’ has been exploring new styles and meaning of theatrical performances since their beginning in 1984.  Critically acclaimed the ensemble, has given audience members across the UK and Europe their strong, powerful and complex crossovers of performance strategies and presentation elements. 
 

     Beginning in 1984 the ensemble came together, all sharing a love and passion for drama.  Working together in performance and drama games they all expressed their love for the subject.  Then began to pursue an ambition of create a new form of production work.

     “Britain’s most brilliant experimental theatre company.” – The Guardian.
 

     The company of the ensemble is set up of six performers, four administrators, four tech associates, and five board managers.  Plus the ensemble occasionally works with local professionals to support their projects.  Together each ensemble member brings forth multiple ideas for any script and performing strategies/techniques, and then beholds improvisation sessions that “look(s) or feel(s) for the work”.  This is their rehearsal process, and that creates the basics for the plot of their upcoming project, and they work together to collaborate ideas to make their project bigger in structure.  It is then in their final month before the opening of the project that they establish a minor script for the production, and they work with their own improvisation technique to create a satisfying shape for their project. 

     “An enormously influential creative force.” – Time Out.
 

     While the ensemble has endured succession and positive reviews it their supportive funding that has allowed them to bring their own unique performance visions to life.  Like many great and successful theatre companies, ‘Forced Entertainment’ has received regular funding’s from the ‘Arts Council England’.  Although with the ensemble taking touring activities across the UK, Europe and sometimes globally, the company does gain supporting fees from local, and successful, theatre companies.  Plus it is through these funding supports that ‘Forced Entertainment’ is able to combine performing art’s elements such as dance choreography, digital media, filmography and larger stage structures for any of their future projects. 

     “A collective with a reputation as one of Europe’s leading experimental companies.” – The Big Issue.
 

     One key aspect of their project work is their unique style and policy of their performances.  As mentioned earlier their main performance policy is of their strong work with improvisation.  ‘Forced Entertainment’ has a tendency of creating new forms of performance art, and starting from scratch, creating script plots, stage settings and characters.  While from this policy, audience members could be surprised that the ensemble doesn’t bring forth loads of productions exploring different themes, different genres and different characteristic styles.  ‘Forced Entertainment’s’ key goal/ambition when beginning a new project is to always explore “the highs, lows and complexities of modern life.”  They do so with strong and constant involvement with their audience members.  “Questioning, stretching, breaking and pushing theatre to see what can be made from the wreckage”.  Hence keeping a strong relation between each of their projects, as they all share similar characters, setting and performance stage structures.  All of which has a strong reflection of modern life and keeps audience members intrigued to their unique style.
 

     But what holds ‘Forced Entertainment’ together and keeps their succession to a high standard is their devising methods and starting points.  Constantly working together in free-play improvisation offering and sharing multiple ideas they precede a process that gets them to their grand succession.  Plus with their abilities to try out and experiment with new methods using many forms of production presentations, they bring forth brilliant forms of theatre that are vastly popular and entertaining and build on the world of stylistic theatre.

     “What is refreshing about Force Entertainment is that, even after all this time, it is playing with theatre… Searching for new metaphors.” -  New Statesman.  

Jaque Le-Coque - Week Eleven Blog

An Introduction to Jaques Le Coq

Thursday 27^th November 2014

     Continuing our introductory workshops into Contemporary Physical Theatre strategies, it was in this session that we had our introduction into ‘Jaques Le Coq’ and his impact into the modern theatre industry.  Linking to our ‘Commedia dell Arte’ research, we now had to look specifically at what devising physical theatre aspects ‘Jaques Le Coq’ has/had brought to theatre.

What did we learn?

     It was ‘Jaques Le Coq’ ambitions’ originally show that he wanted to go into sporting activities, but he exited with a fascination towards the human body.  Looking closely as how and why the body moves in the specific ways, it became an interest of his to create a new form of production.

     It was through this that ‘Jaques Le Coq’ developed an idealistic to bring inanimate object and make them animate.  For example, there was a masked actor with no facial expressions sat on stage, to help the audience understand what the character on stage was feeling, ‘Jaques Le Coq’ devised/directed the actor into new physical aspects and gave meaning and purpose to each and every movement that they projected.  Hence making the inanimate animate. 

     But it wasn’t just performance masks that ‘Jaques Le Coq’ had to work with.  Full body costumes worn by actors, physically turned them into something else, like an everyday object.  But it was the “Le Coq” devising methods that brought a sense of character to these objects as well as a story.  In our session on ‘Jaques Le Coq’ our teacher showed us short videos showing performers wearing both masks and costumes, and using the devising method they truly intrigued us into their performances. 

     The key example that I personally admired, was of two performers wearing costumes simulating a “lung” type of costume, and a “slinky” type of costume.  From their performances, I deduced that the “lung” costumed character, represented a struggling individual, as their purpose in this performance was to stand on the block, set centre stage.  As the video when on, we could really get a feeling of mixed emotions, such as desperation to get up onto the block, difficulty in his struggle to even stay upright, and disappointment in the split moments of their failure.  But it was with the “slinky” type character that I deduced a sense of “cockiness” within the characteristics.  As this character came straight to the block and got onto top, without any struggle or hesitation.  But it was when it stood tall on the block that the “cocky” character really shined, as in a way it was slightly showing off in from of the other character.

     It was an interesting vision to behold, discovering what a true and professional ‘Le Coq’ style has to it.  Of having unique, yet unusual, setting and costumes, it was both entertaining and thought provoking.  But most of all I was interested to give it a go.

What did we achieve from this session?

     Linking back to our early work into ‘Commedia dell Arte’ we look at the physical characteristics of the ‘Stock Characters’, but it had a purpose for us to understand the characters and how to project comedic characters and atmospheres on stage.  So when it was our opportunity to take part in practical exercises in a ‘Le Coq’ style, it was our chance to show how we would make the inanimate animate.

     I personally found these exercises to be another entertaining and interesting experience.  The exercise I enjoyed the most was our devised ensemble work.  As we worked in four small groups, and being timed our teacher gave us inanimate objects for us to physically embrace and project using our bodies and make them animate.  It was interesting to work on our team building as well as physically show our originality creating a setting for a staged piece of work.

     All in all I found this an amazing introduction to ‘Jaques Le Coq’ and his work in devised physical theatre.  I am interested as to what we could do with these workshops and how they could link in with one another and how they can bring a strong sense of professionalism in our future production work.