This assignment will explore the teachings and techniques of Antonin Artaud, Peter Brook and Jerzy Grotowski and will investigate their influences on the development of experimental performance. It will explore England and what it is like to be English/British in society, whilst responding to various stimuli in text form; for example Literature and Music Lyrics, in order to shape and develop material for experimental performance in front of an audience.
The work covered in the workshop sessions will be prompted by the famous line, "This blessed plot, this earth, this realm, this England" from the Shakespearean play, Richard II.
Friday, 21 February 2014
Thursday, 20 February 2014
Antonin Artaud
Birth: 4th September 1896. Death: 4th March 1948
Antonin Artaud was a French playwright, poet, actor and theatre director. As a theatre practitioner of the 20th Century, Artaud believed that theatre should represent reality and therefore, affect the audience as much as possible. In order to fulfil this idea, he used a mixture of strange and disturbing forms of lighting, sound, movement and other performance elements. This was described as his "Theatre of Cruelty". Artaud held the greatest admiration for Eastern forms of Theatre, the Balinese in particular. He was is awe of the highly ritualised and explicit physicality of Balinese Dance performance, thereby advocating the "Theatre of Cruelty". Artaud stated that by "cruelty", he did not mean sadism or causing pain, but instead believed it to be a physical determination to shatter the false reality.
To Artaud, imagination was considered reality. He explored dreams, thoughts and delusions, concluding that they were no less real than the outside world. He saw suffering as an essential part of existence, denouncing the degradation of civilisation, calling for an ecstatic loss of the "self". Artaud wanted to put the audience in the middle of the "spectacle", so they would be "engulfed and physically affected by it".
Artaud and the "Theatre of Cruelty"
As an artisan and prolific theatre practitioner, one of Artaud's most renowned principles was his "Theatre of Cruelty". The art form as he preferred to put it, had "been created in order to restore to the theatre, a passionate and convulsive conception of life". Evidently, in order to fully understand his theories and ideas with regards to "theatre making", one must first examine Artaud's various uses of the term "cruelty". It is employed metaphorically to describe the essence of human existence and its many mysteries. As a form of discipline, it is explained with regards to performance techniques. Artaud also described cruelty, as a "theatrical representation", aiming to place the audience member in the centre of the action, forcing them to engage with the performance on an instinctive level.
In a broader sense, Antonin Artaud was able to shape and change the way audiences perceived theatre, imposing on the subconscious mind and merging both dream and reality. As a director, he was able to make the audience feel uncomfortable by using both lighting and sound as a means to shaping and creating an experimental experience which placed its spectators under "painful" circumstances.
An example of the "Theatre of Cruelty"
The clip investigates the obscurity of Artaud's vision for the "Theatre of Cruelty". As a piece of artistic performance, the clip attempts to demonstrate the cruel and sadistic nature of "rape" through a selection of indistinct sounds, lighting and camera angles. This is meant as an experience of the senses that could keep an audience in a state of constant emotional excitement and uncertainty whilst placing them in a world that made them feel intimidated and conscientious. By doing this, the audiences themselves would feel intimately involved in the circumstances of the performance.
An example of the "Theatre of Cruelty"
The clip investigates the obscurity of Artaud's vision for the "Theatre of Cruelty". As a piece of artistic performance, the clip attempts to demonstrate the cruel and sadistic nature of "rape" through a selection of indistinct sounds, lighting and camera angles. This is meant as an experience of the senses that could keep an audience in a state of constant emotional excitement and uncertainty whilst placing them in a world that made them feel intimidated and conscientious. By doing this, the audiences themselves would feel intimately involved in the circumstances of the performance.
Wednesday, 19 February 2014
Peter Brook
Birth: 21st March 1925
Peter Brook is an English theatre/film director and practitioner who has been based in France since the early 1970's. His innovation and broad knowledge of the arts has grounded him in history as a successful artisan of the mid to late 20th century. Brook's works have been largely influenced by the works of Antonin Artaud and his ideas for the "Theatre of cruelty".
In 1964, Brook was involved in the "Theatre of cruelty" season at the Royal Shakespeare Company, exploring ways in which Artaud's theories and ideas could be used to find new forms of expression and retrain the performer in ways that hadn't been explored previously.
A showing of "works in progression" was the result, made up of a series of improvisations and sketches. Peter Brook's work has also been influenced by the theories of Jerzy Grotowski on the basis and ideas of experimental theatre. Brook describes his task as building
"a necessary theatre, one in which there is only a practical difference between actor and audience, not a fundamental one." Traditionally seeing audiences as passive observers, many experimental practitioners, including Brook, have wanted to challenge this basis.
Birth: 21st March 1925
Peter Brook is an English theatre/film director and practitioner who has been based in France since the early 1970's. His innovation and broad knowledge of the arts has grounded him in history as a successful artisan of the mid to late 20th century. Brook's works have been largely influenced by the works of Antonin Artaud and his ideas for the "Theatre of cruelty". In 1964, Brook was involved in the "Theatre of cruelty" season at the Royal Shakespeare Company, exploring ways in which Artaud's theories and ideas could be used to find new forms of expression and retrain the performer in ways that hadn't been explored previously.
A showing of "works in progression" was the result, made up of a series of improvisations and sketches. Peter Brook's work has also been influenced by the theories of Jerzy Grotowski on the basis and ideas of experimental theatre. Brook describes his task as building
"a necessary theatre, one in which there is only a practical difference between actor and audience, not a fundamental one." Traditionally seeing audiences as passive observers, many experimental practitioners, including Brook, have wanted to challenge this basis.
Tuesday, 18 February 2014
Jerzy Grotowski
Birth:11th August 1933 Death:14th January 1999
Jerzy Grotowski was a Polish theatre director and innovator of "experimental theatre". He was influential in his ability to rethink what theatre actually represented as an art form and its purpose in contemporary culture. One of his most centred ideas was the notion of the "poor theatre". By this he meant, a "theatre which the fundamental concern is the work of the actor with the audience, not the sets, costumes, lighting or special effects". His belief was that these "trappings" were unnecessary to the central core and meaning that theatre should generate.
By "poor" Grotowski meant, the stripping away of all that was unnecessary whilst leaving a "stripped" and vulnerable actor. In order to shape and expand his idea, he would work with all black sets and actors in plain black rehearsal costume. He made his actors embark on rigorous training exercises in order for them to have full control over their bodies. Through his concept of "poor theatre", Grotowski realised that theatre could exist without makeup, costume or sceneography. Grotowski believed in the sacredness of the actor. When the performer entered the "sanctity" of the performance space, a special event occurred through his/her performance.
Grotowski's extensive training regimes.
This clip exemplifies the extensive training exercises Grotowski would have his actors embark on in order to push the body to its physical limit. Grotowski attempted to centre/concentrate both body and mind in order to be both physically and mentally ready for performance which inevitably was needed for enhanced brain/body power and full concentration during the extensive exercises carried out in order to retain fluidity and flexibility in performance. The clip also shows how the body itself can be changed and altered in order to replicate the movements of elements such as "air", "water" and "earth", which Grotowski regularly challenged and adapted in order to be creative in his ideas and basis for performance.
Birth:11th August 1933 Death:14th January 1999
Jerzy Grotowski was a Polish theatre director and innovator of "experimental theatre". He was influential in his ability to rethink what theatre actually represented as an art form and its purpose in contemporary culture. One of his most centred ideas was the notion of the "poor theatre". By this he meant, a "theatre which the fundamental concern is the work of the actor with the audience, not the sets, costumes, lighting or special effects". His belief was that these "trappings" were unnecessary to the central core and meaning that theatre should generate. By "poor" Grotowski meant, the stripping away of all that was unnecessary whilst leaving a "stripped" and vulnerable actor. In order to shape and expand his idea, he would work with all black sets and actors in plain black rehearsal costume. He made his actors embark on rigorous training exercises in order for them to have full control over their bodies. Through his concept of "poor theatre", Grotowski realised that theatre could exist without makeup, costume or sceneography. Grotowski believed in the sacredness of the actor. When the performer entered the "sanctity" of the performance space, a special event occurred through his/her performance.
This clip exemplifies the extensive training exercises Grotowski would have his actors embark on in order to push the body to its physical limit. Grotowski attempted to centre/concentrate both body and mind in order to be both physically and mentally ready for performance which inevitably was needed for enhanced brain/body power and full concentration during the extensive exercises carried out in order to retain fluidity and flexibility in performance. The clip also shows how the body itself can be changed and altered in order to replicate the movements of elements such as "air", "water" and "earth", which Grotowski regularly challenged and adapted in order to be creative in his ideas and basis for performance.
Monday, 17 February 2014
Jerzy Grotowski's points for success
Acting through focus and awareness
Grotowski's actors were so physically and vocally skilled that they could communicate clearly through sounds and movements. His actor's believed that acting as an art form was a search for self-knowledge and awareness. The creative style of their training which incorporated rigorous exercises into performance, taught them to break free of limitations in order to reach their full potential.
Working in Silence
Grotowski stated that "an actor must begin by doing nothing". He inferred that if a group of actors could remain completely still for several minutes without disruptions or disturbances, then they would be able to concentrate more intensely and use the "silence" as a creative passage.
Physical training
Grotowski's actors were extremely physically skilled. They developed methods and techniques of movement which allowed them to control every move they made from the smallest movement with intricate detail. Grotowski emphasised to his actors how, "everything we think and feel is expressed through our bodies and everything we experience is felt through our bodies." In response to this, he gave his actors physical skills for fully expressing their imagination and personalities.
Voice
Grotowski believed that vocal training was an essential part of the actor. Therefore, he trained them to focus their voices as though they were coming from different parts of their bodies. The actor would use the full potential of their vocal registers from very high to very low.
Singing, chanting and poetry was used to improve the vocal performance of the actors which enabled them to use the full range of their vocal chords in order to replicate atmospheric and unusual sounds.
Human Contact
In order to break down the barriers of self consciousness experienced by individuals, Grotowski believed in true contact between human beings. He argued that the real harmony in human relationships, was only able to develop when people learnt to look and listen to each other. Therefore, he wanted his actors to be more aware of the impact that they had on others through "touch" and "contact".
Transformation
In his "Poor Theatre", Grotowski always aimed for the simplest possible uses of "staging", "lighting", "costumes" and "special effects". This forced his actors to use their skill and imagination to transform empty spaces and simple objects into a wide range of imaginative worlds. Grotowski therefore relied heavily on symbolism in order to create these abstract worlds.
Grotowski's actors were so physically and vocally skilled that they could communicate clearly through sounds and movements. His actor's believed that acting as an art form was a search for self-knowledge and awareness. The creative style of their training which incorporated rigorous exercises into performance, taught them to break free of limitations in order to reach their full potential.
Working in Silence
Grotowski stated that "an actor must begin by doing nothing". He inferred that if a group of actors could remain completely still for several minutes without disruptions or disturbances, then they would be able to concentrate more intensely and use the "silence" as a creative passage.
Physical training
Grotowski's actors were extremely physically skilled. They developed methods and techniques of movement which allowed them to control every move they made from the smallest movement with intricate detail. Grotowski emphasised to his actors how, "everything we think and feel is expressed through our bodies and everything we experience is felt through our bodies." In response to this, he gave his actors physical skills for fully expressing their imagination and personalities.
Voice
Grotowski believed that vocal training was an essential part of the actor. Therefore, he trained them to focus their voices as though they were coming from different parts of their bodies. The actor would use the full potential of their vocal registers from very high to very low.
Singing, chanting and poetry was used to improve the vocal performance of the actors which enabled them to use the full range of their vocal chords in order to replicate atmospheric and unusual sounds.
Human Contact
In order to break down the barriers of self consciousness experienced by individuals, Grotowski believed in true contact between human beings. He argued that the real harmony in human relationships, was only able to develop when people learnt to look and listen to each other. Therefore, he wanted his actors to be more aware of the impact that they had on others through "touch" and "contact".
Transformation
In his "Poor Theatre", Grotowski always aimed for the simplest possible uses of "staging", "lighting", "costumes" and "special effects". This forced his actors to use their skill and imagination to transform empty spaces and simple objects into a wide range of imaginative worlds. Grotowski therefore relied heavily on symbolism in order to create these abstract worlds.
In using these pointers in their truest form, Grotowski required his actors to be both true to themselves and others in order to create imaginative, unique ideas and skills for performance. Focus and commitment allowed his actors to realise their fullest potential when on stage and shaped their overall physical and mental concentration. By training his actors rigorously through repetitive exercise and labour, Grotowski was able to shape and condition his actors subconsciously in order to create "true" material.
Sunday, 16 February 2014
Poems that inspire the theme of "England"
These stimuli were useful in extracting particular words and phrases which could be developed into many sequential scenes for which our final performance was based upon. As theatre makers, this allowed us to broaden our research development for performance and also our knowledge of the historical impact that Britain has left over time, whether it be theatrical or true to life.
Saturday, 15 February 2014
Tuesday 7th January 2014
What did we do?
As a class, we examined the assignment brief which explored England and what it is like to be English/British and how as theatre makers, we would be able to devise stimulus material for an experimental performance that covered these themes. We also examined two pieces of text, the first, "Going, Going" by Philip Larkin and the second "Richard II" by William Shakespeare which both related to Britain in the themes and attitudes they displayed to patriotism and also scrutiny and negativity towards Britain and its previous Empire.
Following on from that, we embarked on a "relaxation exercise" which was utilised to concentrate the mind and body. The scenario required us as a group to imagine a golden liquid flowing through our breath and out through our fingertips/toes, filling up the whole of our bodies and were asked to respond to the feelings we picked up from the exercise. We then explored the room and each other using only our heads and torso which allowed us to investigate the world around us from an alternative perspective. In warming up our breath, we embodied a "sound cathedral" in which we verbalised words such as "Crave", "Lust", "Fear" and "Loath" in order to experiment with the extent of our bodies contortions and vocal ability. The last part of the lesson, stretched our mental creativity in a "Writing exercise" which required us to write the first things that came into our mind. This was responsible for stretching our experimental devising techniques, tapping into the subconscious mind.
What went well?
The pieces of text for which we examined as a group, allowed us to gain a crucial insight into the mixed feelings and opinions of Britain as a nation. It also provided concise stimulus material for devising which would help us to a greater extent in the later performance workshop classes. The "relaxation exercise" helped me become completely centred in terms of my breathing and concentration, which is a crucial part within experimental performance. My thought process also became in tune with the strong impulses of my limbs and muscles, which enabled me to physicalise my emotions in a unique, flexible manner.
The "Writing exercise", evoked strong internal feelings and impulses on the concept of Britain and the lengths to which we could devise experimental representations of a powerful nation.
Even better If?
In terms of the "sound cathedral", I believe we could have embodied the words, "Crave", "Lust", "Fear" and "Loath" to a further extent. For instance, we could have used the range of our physicality in order to portray the words through our impulsive body movements for which I believe would have been more powerful in terms of the feelings being displayed to an audience. The unique nature of our physicality would have benefited and stretched the range of our experimental understanding and broken up the monotony of dialogue.
As a class, we examined the assignment brief which explored England and what it is like to be English/British and how as theatre makers, we would be able to devise stimulus material for an experimental performance that covered these themes. We also examined two pieces of text, the first, "Going, Going" by Philip Larkin and the second "Richard II" by William Shakespeare which both related to Britain in the themes and attitudes they displayed to patriotism and also scrutiny and negativity towards Britain and its previous Empire.
Following on from that, we embarked on a "relaxation exercise" which was utilised to concentrate the mind and body. The scenario required us as a group to imagine a golden liquid flowing through our breath and out through our fingertips/toes, filling up the whole of our bodies and were asked to respond to the feelings we picked up from the exercise. We then explored the room and each other using only our heads and torso which allowed us to investigate the world around us from an alternative perspective. In warming up our breath, we embodied a "sound cathedral" in which we verbalised words such as "Crave", "Lust", "Fear" and "Loath" in order to experiment with the extent of our bodies contortions and vocal ability. The last part of the lesson, stretched our mental creativity in a "Writing exercise" which required us to write the first things that came into our mind. This was responsible for stretching our experimental devising techniques, tapping into the subconscious mind.
What went well?
The pieces of text for which we examined as a group, allowed us to gain a crucial insight into the mixed feelings and opinions of Britain as a nation. It also provided concise stimulus material for devising which would help us to a greater extent in the later performance workshop classes. The "relaxation exercise" helped me become completely centred in terms of my breathing and concentration, which is a crucial part within experimental performance. My thought process also became in tune with the strong impulses of my limbs and muscles, which enabled me to physicalise my emotions in a unique, flexible manner.
The "Writing exercise", evoked strong internal feelings and impulses on the concept of Britain and the lengths to which we could devise experimental representations of a powerful nation.
Even better If?
In terms of the "sound cathedral", I believe we could have embodied the words, "Crave", "Lust", "Fear" and "Loath" to a further extent. For instance, we could have used the range of our physicality in order to portray the words through our impulsive body movements for which I believe would have been more powerful in terms of the feelings being displayed to an audience. The unique nature of our physicality would have benefited and stretched the range of our experimental understanding and broken up the monotony of dialogue.
Friday, 14 February 2014
Monday 13th January 2014
What did we do?
In this lesson, we discussed the life and works of Antonin Artaud and the "Theatre of Cruelty". We analysed his techniques for devising theatre, discussing ways in which we could use his theories, ideas and techniques in order to create our own experimental performances.
We also compared his works to those of Peter Brook and Jerzy Grotowski, discussing the ways in which their ideas shaped the basis of experimenting with scenario's in order to make them unique and also disturbing and moving for an audience.
What Went Well?
In analysing Artaud as a practitioner of theatre, we were able to make justifiable judgements and criticisms of his work and the impact he had on audiences of the past. Comparing his work to those of Brook and Grotowski allowed us to make contrasting opinions and beliefs on how the practitioners were able to change and develop the ways we view performance in today's modern society and how experimentation in theatre has allowed us as performers to push the boundaries of theatrics and the "taboo".
Even Better If?
It may have been even better if we were able to change and shape the opinions and ideas we made of the practitioners in the lesson and in groups have created our own basis for experimental performance. This would have been beneficial in extracting our own ideas and interpretations on experimental performance and the lengths to which we would go in order to break down the boundaries of "taboo" and the "unknown".
In this lesson, we discussed the life and works of Antonin Artaud and the "Theatre of Cruelty". We analysed his techniques for devising theatre, discussing ways in which we could use his theories, ideas and techniques in order to create our own experimental performances.
We also compared his works to those of Peter Brook and Jerzy Grotowski, discussing the ways in which their ideas shaped the basis of experimenting with scenario's in order to make them unique and also disturbing and moving for an audience.
What Went Well?
In analysing Artaud as a practitioner of theatre, we were able to make justifiable judgements and criticisms of his work and the impact he had on audiences of the past. Comparing his work to those of Brook and Grotowski allowed us to make contrasting opinions and beliefs on how the practitioners were able to change and develop the ways we view performance in today's modern society and how experimentation in theatre has allowed us as performers to push the boundaries of theatrics and the "taboo".
Even Better If?
It may have been even better if we were able to change and shape the opinions and ideas we made of the practitioners in the lesson and in groups have created our own basis for experimental performance. This would have been beneficial in extracting our own ideas and interpretations on experimental performance and the lengths to which we would go in order to break down the boundaries of "taboo" and the "unknown".
Thursday, 13 February 2014
Tuesday 14th January 2014
What did we do?
In this lesson, we embarked on a largely physical warm up that concentrated our body and mind for devising and experimenting. To begin the exercise, we started with a cardiovascular, aerobic and voice warm up that was responsible for warming up the body and becoming in tune with Artaud's theory of pushing the body to it's physical limit.
As part of our next exercise, we imagined as a class that we were trapped inside a box and had to spell out our name using different areas of our body parts as a means of stretching and pushing our bodies further in order to become flexible.
We then utilised a tableau (freeze frame) exercise for which we physicalised our interpretations of "cracked ice", "being bombed", "being burnt alive", "a dinosaur" and a "rat". This exercise was used to stretch our minds, becoming in tune with ways in which we could use multiple bodies in order to interpret and "bring to life" these stimuli.
In order to exercise our vocal chords and warm up our breath, we imitated "true to life" sounds such as a "car engine", "machinery", "flowing water", "crashing waves" etc. in order to replicate a day out at the "sea-side" or in the middle of "Piccadilly circus" which is largely inhabited my noise pollution.
Lastly, we explored the boundaries of "taboo", investigating the rules of a changing room/library and how they varied and how individuals would feel/react if we broke these rules. By doing this, we were able to create a moral message out of "taboo", making audiences feel uncomfortable by disturbing their senses, similar to Artaud's "Theatre of Cruelty".
What Went Well?
In terms of concentrating and centering our minds for intense experimenting and devising, the "physical warm up" enabled me to become more in tune with my body's physical limits and strength as an actor. The exercise also helped me become more aware of Jerzy Grotowski's methods as a practitioner and his ideals in pushing the body to its "physical limit" through excessive tasks and exercise in order to feel and perform the whole range of an individuals body. The tableau (freeze frame) exercise, helped me in terms of understanding how to represent unusual and often grotesque embodiments of both society and natural life and its importance for which could be represented through "gesture" and "mime"
Even Better If?
In terms of evoking "true to life" sounds such as a "car engine", "machinery", "flowing water"and "crashing waves", I believe we should have created a "sound cathedral" as a group for which we could have intensified in order to sound more in tune with the "sounds" used in reality. I also believe that in these early stages of devising, we should have used these ideas/thought processes and incorporated them into our performances in the later stages of devising and rehearsing in order to build a wider range of cohesive material. I also believe that if we had more time during the lesson to plan and shape these elements, we could have uncovered the implicit meanings of industrial revolution and consumerism in Britain, which plays a massive part in shaping the overall basis of our performance.
In this lesson, we embarked on a largely physical warm up that concentrated our body and mind for devising and experimenting. To begin the exercise, we started with a cardiovascular, aerobic and voice warm up that was responsible for warming up the body and becoming in tune with Artaud's theory of pushing the body to it's physical limit.
As part of our next exercise, we imagined as a class that we were trapped inside a box and had to spell out our name using different areas of our body parts as a means of stretching and pushing our bodies further in order to become flexible.
We then utilised a tableau (freeze frame) exercise for which we physicalised our interpretations of "cracked ice", "being bombed", "being burnt alive", "a dinosaur" and a "rat". This exercise was used to stretch our minds, becoming in tune with ways in which we could use multiple bodies in order to interpret and "bring to life" these stimuli.
In order to exercise our vocal chords and warm up our breath, we imitated "true to life" sounds such as a "car engine", "machinery", "flowing water", "crashing waves" etc. in order to replicate a day out at the "sea-side" or in the middle of "Piccadilly circus" which is largely inhabited my noise pollution.
Lastly, we explored the boundaries of "taboo", investigating the rules of a changing room/library and how they varied and how individuals would feel/react if we broke these rules. By doing this, we were able to create a moral message out of "taboo", making audiences feel uncomfortable by disturbing their senses, similar to Artaud's "Theatre of Cruelty".
What Went Well?
In terms of concentrating and centering our minds for intense experimenting and devising, the "physical warm up" enabled me to become more in tune with my body's physical limits and strength as an actor. The exercise also helped me become more aware of Jerzy Grotowski's methods as a practitioner and his ideals in pushing the body to its "physical limit" through excessive tasks and exercise in order to feel and perform the whole range of an individuals body. The tableau (freeze frame) exercise, helped me in terms of understanding how to represent unusual and often grotesque embodiments of both society and natural life and its importance for which could be represented through "gesture" and "mime"
Even Better If?
In terms of evoking "true to life" sounds such as a "car engine", "machinery", "flowing water"and "crashing waves", I believe we should have created a "sound cathedral" as a group for which we could have intensified in order to sound more in tune with the "sounds" used in reality. I also believe that in these early stages of devising, we should have used these ideas/thought processes and incorporated them into our performances in the later stages of devising and rehearsing in order to build a wider range of cohesive material. I also believe that if we had more time during the lesson to plan and shape these elements, we could have uncovered the implicit meanings of industrial revolution and consumerism in Britain, which plays a massive part in shaping the overall basis of our performance.
Wednesday, 12 February 2014
Tuesday 21st January 2014
What did we do?
In this lesson, we began with a "Sun Salutation" in order to concentrate our minds on experimenting and devising, letting go of all personal tensions. In partners, we then embarked on a short exercise in which we utilised slow motion fighting using at first only our arms and legs and following this, only our torso's in order to use the whole range of our bodies for devising and experimenting in order to perform unique shapes and contortions.
We then attempted to tap into our prime-evil state by performing a "Circle ritual" for which we came up with a unique impulsive chant which we repeated in unison. In partners, we then came up with unique sounds and in closing our eyes, were able to find one another using the unique sounds we came up with by utilising our sense of sound and touch.
As a group, we discussed settings and ideas for our "experimental performance" and in doing this, had to individually come up with devised performances. For my idea, I decided to create an old man in a pub who spoke poetically to himself, utilising a rhythmic and eerie atmosphere.
Lastly in groups, we embarked on an exercise for which we had to make "continual rituals" utilising themes of "triumph", "fertility", "death" and "loss".
In this lesson, we began with a "Sun Salutation" in order to concentrate our minds on experimenting and devising, letting go of all personal tensions. In partners, we then embarked on a short exercise in which we utilised slow motion fighting using at first only our arms and legs and following this, only our torso's in order to use the whole range of our bodies for devising and experimenting in order to perform unique shapes and contortions.
We then attempted to tap into our prime-evil state by performing a "Circle ritual" for which we came up with a unique impulsive chant which we repeated in unison. In partners, we then came up with unique sounds and in closing our eyes, were able to find one another using the unique sounds we came up with by utilising our sense of sound and touch.
As a group, we discussed settings and ideas for our "experimental performance" and in doing this, had to individually come up with devised performances. For my idea, I decided to create an old man in a pub who spoke poetically to himself, utilising a rhythmic and eerie atmosphere.
Lastly in groups, we embarked on an exercise for which we had to make "continual rituals" utilising themes of "triumph", "fertility", "death" and "loss".
What Went Well?
In beginning with a "Sun Salutation", I was able to concentrate and focus my mind for devising and experimenting work for performance. In my opinion, this helped me with the exercise in which I had to use my full focus and coordination in order to perform a small section of combat stage fighting. The work we had accumulated on Grotowski, Artaud and Brook was beneficial in broadening my understanding of feeling impulses from the subconscious in order to perform a successful "Circle ritual" chant. The chant also played a substantial part in forming an overall basic structure for our final experimental performance. (The idea of ridding Britain of all its consumerist values and ideals.) The final devising exercise was useful in creating material for which we could shape and develop our performance around.
In beginning with a "Sun Salutation", I was able to concentrate and focus my mind for devising and experimenting work for performance. In my opinion, this helped me with the exercise in which I had to use my full focus and coordination in order to perform a small section of combat stage fighting. The work we had accumulated on Grotowski, Artaud and Brook was beneficial in broadening my understanding of feeling impulses from the subconscious in order to perform a successful "Circle ritual" chant. The chant also played a substantial part in forming an overall basic structure for our final experimental performance. (The idea of ridding Britain of all its consumerist values and ideals.) The final devising exercise was useful in creating material for which we could shape and develop our performance around.
Even Better If?
If we had increased our belief and understanding in the "Circle ritual", I believe we could have conveyed our message of placing Britain back in its naturalist state to a further extent. At this point in the devising process, I felt that many individuals including myself were not able to commit fully to the demands of the "Circle ritual" due to its new and unusual nature for which many of us were unfamiliar. However, I also understand that in these early workshops, we would have not been able to execute work which was ready for performance and therefore understand that in further practising and understanding the requirements of the ritual in itself, we would have been able to improve its demands to the task in a more believable way.
Tuesday, 11 February 2014
Tuesday 28th January 2014
What did we do?
The whole premise of this workshop lesson, was to explore the range of the primeval subconscious and how as evolved beings, we could evoke our primitive state through methods and exercises associated with experimental theatre and the works of Grotowski. As an ensemble, we explored the nature of "primeval screaming" and how that could be used as an essential part of "release" within drama and performance.
In the next part of the lesson, we applied an "automatic art exercise" to our devising process which was useful in transferring the ideas that individuals had in the workshop that could go towards our final devised experimental performance. The art was a method of visualising these ideas on paper through meaningful expression rather than just plain text.
What Went Well?
The "primeval screaming" was an explorative platform for releasing tension and nerves within performance, focusing the subconscious mind purely on the character/performance. It worked well on centering my body and mind entirely on devising and blocking out the distractions/ anxieties of everyday life. I felt as though the exercise was useful in breaking down boundaries between partners who could use one another as platforms for expressing their inner implicit feelings of individual emotion.
The "automatic art exercise" was useful in transferring ideas in the mind onto paper through an expressive method. The "art" therefore provided stimulus material for performance and gave the group a point for which ideas could be evolved and shaped from.
Even Better If?
I believe that we should have used the "art methods" earlier on in the devising process as ideas had taken a while to formulate previous to this devising workshop. I also believe that the creative nature of the exercise could have been further explored in terms of its functionality in crafting stimulus material. However, its involvement in the devising process allowed us as an ensemble to shape and develop eachother's ideas for experimental performance.
The whole premise of this workshop lesson, was to explore the range of the primeval subconscious and how as evolved beings, we could evoke our primitive state through methods and exercises associated with experimental theatre and the works of Grotowski. As an ensemble, we explored the nature of "primeval screaming" and how that could be used as an essential part of "release" within drama and performance.
In the next part of the lesson, we applied an "automatic art exercise" to our devising process which was useful in transferring the ideas that individuals had in the workshop that could go towards our final devised experimental performance. The art was a method of visualising these ideas on paper through meaningful expression rather than just plain text.
What Went Well?
The "primeval screaming" was an explorative platform for releasing tension and nerves within performance, focusing the subconscious mind purely on the character/performance. It worked well on centering my body and mind entirely on devising and blocking out the distractions/ anxieties of everyday life. I felt as though the exercise was useful in breaking down boundaries between partners who could use one another as platforms for expressing their inner implicit feelings of individual emotion.
The "automatic art exercise" was useful in transferring ideas in the mind onto paper through an expressive method. The "art" therefore provided stimulus material for performance and gave the group a point for which ideas could be evolved and shaped from.
Even Better If?
I believe that we should have used the "art methods" earlier on in the devising process as ideas had taken a while to formulate previous to this devising workshop. I also believe that the creative nature of the exercise could have been further explored in terms of its functionality in crafting stimulus material. However, its involvement in the devising process allowed us as an ensemble to shape and develop eachother's ideas for experimental performance.
Monday, 10 February 2014
Tuesday 4th Febuary 2014
What did we do?
This workshop lesson was purely centred around rehearsing and fine tuning the performance of the ritual chant in which consumerist ideals of England were put into a bonfire. As an ensemble, we shaped the ideas we had drawn together in previous workshop lessons and drawn upon new ideas where we could increase the professionalism of the chant in itself. We came up with the idea of repeating the phrase "Going, going, going" in order to build the tension of the materials being thrown into the bonfire. We also decided from the material we had accumulated for performance, to physicalise the elements of "earth", "wind", "fire" and "water", using the diverse range of our bodies for which we had learnt to control entirely from the lessons on Jerzy Grotowski and his devising techniques and practises.
What Went Well?
In devising around the basis of the "ritual chant", learning off each others tips and ideas for performance, we were able to make the "chant" expressive and believable for an audience. This process challenged our creative initiative as performers and makers of theatre but also shaped our understanding of how we as an ensemble were able to express and share useful, in depth ideas for showcasing a moving performance through experimenting with various ideas and stimuli.
Even Better If?
Instead of focusing the entire workshop lesson around the "ritual chant", as an ensemble we should have varied our devising time in order to improve the belief in the rest of the piece. At this point, we were not ready as a group to perform our experimental devised performance due to the fact that we had spent far too long discussing ideas rather than putting them straight into practice. As a group, we knew at this point that we had alot to do in order to express the full potential of our experimental performance.
This workshop lesson was purely centred around rehearsing and fine tuning the performance of the ritual chant in which consumerist ideals of England were put into a bonfire. As an ensemble, we shaped the ideas we had drawn together in previous workshop lessons and drawn upon new ideas where we could increase the professionalism of the chant in itself. We came up with the idea of repeating the phrase "Going, going, going" in order to build the tension of the materials being thrown into the bonfire. We also decided from the material we had accumulated for performance, to physicalise the elements of "earth", "wind", "fire" and "water", using the diverse range of our bodies for which we had learnt to control entirely from the lessons on Jerzy Grotowski and his devising techniques and practises.
What Went Well?
In devising around the basis of the "ritual chant", learning off each others tips and ideas for performance, we were able to make the "chant" expressive and believable for an audience. This process challenged our creative initiative as performers and makers of theatre but also shaped our understanding of how we as an ensemble were able to express and share useful, in depth ideas for showcasing a moving performance through experimenting with various ideas and stimuli.
Even Better If?
Instead of focusing the entire workshop lesson around the "ritual chant", as an ensemble we should have varied our devising time in order to improve the belief in the rest of the piece. At this point, we were not ready as a group to perform our experimental devised performance due to the fact that we had spent far too long discussing ideas rather than putting them straight into practice. As a group, we knew at this point that we had alot to do in order to express the full potential of our experimental performance.
Sunday, 9 February 2014
Tuesday 11th Febuary 2014
What did we do?
In this lesson, we analysed the overall structure of our experimental performance and improved its staging and performance capabilities. We also examined props and how we would use them to improve the overall atmosphere and themes within our performance, relating them back to the idea of "England".
We also performed the "Circle ritual chant" which had become more powerful in the message it was trying to convey on the basis of eradicating the consumerist ideals and attitudes of modern day, British society, instead reverting them back to their natural element.
The next part of the lesson, gave us the freedom of analysing the "given circumstances" of our individual characters for our experimental performance and how they would relate to the idea of "England" and "what it is like to be British". Therefore, I was able to develop and shape certain elements of my character in order to develop the experimental nature of my overall belief and attitudes in my character. Following on from this, we were placed in our performance groups i.e. (the old peoples home) for which we were given the time to construct and build material which would improve the structure and also the cohesive nature of the devised pieces in the final performance.
What Went Well?
In devoting the workshop time to building and shaping the material we had constructed for performance, allowed us as a group to improve the overall experimental nature of our final performance piece. I was able to use the time to my advantage in using phrase and gesture to display my thoughts and emotions conveyed in my section of the performance. I felt as though the time was used wisely and I was able to gain a substantial amount of tips and techniques for portraying my character of a senile, old man in the most convincing way possible. I used the criticisms I received from my peers and teachers as a way of improving the overall shape of my performance.
Even Better If?
I believe it would have been even better if we were given more time in previous devising sessions to dedicate to experimenting for performance. At this point in the devising process, I felt that as a group, we had not been successful enough in linking our experimental performance together. Although we had been given sufficient resources and tools for performance, I felt as though we had left rehearsing a run through performance to the last minute and therefore didn't feel as comfortable in performing to a full audience at this point in time.
In this lesson, we analysed the overall structure of our experimental performance and improved its staging and performance capabilities. We also examined props and how we would use them to improve the overall atmosphere and themes within our performance, relating them back to the idea of "England".
We also performed the "Circle ritual chant" which had become more powerful in the message it was trying to convey on the basis of eradicating the consumerist ideals and attitudes of modern day, British society, instead reverting them back to their natural element.
The next part of the lesson, gave us the freedom of analysing the "given circumstances" of our individual characters for our experimental performance and how they would relate to the idea of "England" and "what it is like to be British". Therefore, I was able to develop and shape certain elements of my character in order to develop the experimental nature of my overall belief and attitudes in my character. Following on from this, we were placed in our performance groups i.e. (the old peoples home) for which we were given the time to construct and build material which would improve the structure and also the cohesive nature of the devised pieces in the final performance.
What Went Well?
In devoting the workshop time to building and shaping the material we had constructed for performance, allowed us as a group to improve the overall experimental nature of our final performance piece. I was able to use the time to my advantage in using phrase and gesture to display my thoughts and emotions conveyed in my section of the performance. I felt as though the time was used wisely and I was able to gain a substantial amount of tips and techniques for portraying my character of a senile, old man in the most convincing way possible. I used the criticisms I received from my peers and teachers as a way of improving the overall shape of my performance.
Even Better If?
I believe it would have been even better if we were given more time in previous devising sessions to dedicate to experimenting for performance. At this point in the devising process, I felt that as a group, we had not been successful enough in linking our experimental performance together. Although we had been given sufficient resources and tools for performance, I felt as though we had left rehearsing a run through performance to the last minute and therefore didn't feel as comfortable in performing to a full audience at this point in time.
Saturday, 8 February 2014
Individual/Group Experimental Devised Performance Piece
"Going,Going,Going" Experimental Devised Performance
Within our experimental performance piece, "Going,Going,Going" we wanted as an ensemble to explore what it is like to be English/British embracing the cultural heritage of Britain and its historic time periods. Within our group consisting of Esme Seber, Shaniqua Okwok, Ella Lucia Clark Cowen, Kate Oveden and myself we devised a short experimental piece around an "Old People's Home" that would coincide with our individual performance pieces and the ritual chant that provided the overall structure of our performance.
As a group, we explored what we interpreted to be the inner subconscious thought processes of elderly individuals, slowly loosing their faculties due to old age and Alzheimer's. In order to interpret this to an audience in an experimental manner, we would individually voice the subconscious thoughts and feelings that our elderly characters were experiencing, coming to the end of their lives. We decided that we would incorporate the audience in the action of the piece, asking them question that would make them feel fully immersed and affected by our characters and the general idea of our piece. In order to affect the audience to the fullest extent, we decided to incorporate music, physicality and variations of sound in order to catch the audience off guard, making them feel uncomfortable and uneasy, much like Artaud's Theatre of Cruelty.
In terms of message and purpose, the overall basis of experimental theatre is hard to define. However, as a group we wanted to explore the mistreatment of elderly people in modern day British Society, exploring how as members of the older community, they are treated as Second Class citizens compared to other "able individuals". Therefore, we would have to tie in elements of naturalism with experimentation in terms of unique contortion and range in voice in order to allow our performance to both make sense and relate to experimental theatre all the same.
These images were used as Stimuli for our experimental performance in the workshop lessons, in order to craft ideas for our individual group pieces. The images evoked feelings of a"Broken Britain", one in which had been tainted by an uncomfortable and unforgiving past. The foreboding nature of the images and the sinister feelings that they created, allowed us as theatre makers to use the ambiguous nature of the pieces in order to create an uncomfortable theatrical experience. One where we could make the audience feel genuinely affected by the abstract and experimental nature of our physicality and vocal range, whilst utilising aspects of the ideas and practises of the theatre practitioners we had studied in earlier workshop lessons.
In terms of message and purpose, the overall basis of experimental theatre is hard to define. However, as a group we wanted to explore the mistreatment of elderly people in modern day British Society, exploring how as members of the older community, they are treated as Second Class citizens compared to other "able individuals". Therefore, we would have to tie in elements of naturalism with experimentation in terms of unique contortion and range in voice in order to allow our performance to both make sense and relate to experimental theatre all the same.
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| For our individual performances that were to be viewed one by one by an audience, we had to devise our own pieces that interlinked with both the group performances and also the ritual chant. In this part of the performance, I was a senile, elderly man in a wheel-chair speaking to himself. The experimental nature of my performance made the piece incredibly powerful and also disturbing for an audience to watch due to the rigid and almost beast-like nature of my character. The lines were as follows: "The birds fly high in the moonlight. They move, they fly, they fly high in the sky. They swoop, they stare. The dead birds lie down in the moonlight". |
Friday, 7 February 2014
Evaluation of "Going, Going, Going"
Evaluation of Experimental Performance Piece
In retrospect, I believe that as an ensemble we were successful in creating a piece of experimental theatre that explored England and what it is like to be English/British in all aspect of society. In the final rehearsal sessions, we were able to incorporate the ideas of the "ritual chant", our group performance pieces and our individual pieces merging them into a whole devised piece of drama that experimented with lighting, physicality and voice.
As an actor, I was able to fully commit to the absurdest way of acting, incorporating primeval screaming, rigid physicality etc. in order to portray a convincing and moving piece of drama that would be interpreted and received by an outside audience, challenging them both physically and mentally.
The first half of performance day was dedicated to tightening the overall structure of our piece since our Director was not present. This was challenging at first since our cover teachers were unfamiliar with the work that we were devising and therefore found in difficult to follow on from the directions of our director. This setback required us as actors to fully commit to the work that we had created in order to present a satisfying piece of experimental drama to an audience, challenging the level of our maturity. This in itself set me on a learning process since I had to be independent in my thinking and not rely on others to get the work done. Therefore, I felt I contributed to an even greater extent in getting the work done and the performance up to scratch.
Overall, I was pleased with the level of dedication and engagement that the ensemble presented in the final performance. This high level of care and maturity, displayed that we as individuals had learnt a great deal from the work we had discovered from the various theatre practitioners we had studied in the earlier workshop lessons. Although there were definite areas with which we could improve, in terms of devising etc. I believe that we were able to demonstrate a successful depiction of experimental theatre.
As a "theatre product", the experimental performance piece would be successful in depicting how the subconscious can be used to create unusual and moving pieces of theatre for an audience. It could also be used to show audiences how the theatre can be used to depict cruel and violent aspects of society with which we are faced with, but not entirely in tune with.
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| The Elderly Group |
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