The script for 'That's your Trouble' had little details to provide on the background. It was important to build a story for the background and ensure that Jamie and I had developed characters that worked of each other. The character 'A' (Barry), is clearly a hot head type character. He picks out on something mundane and this makes him incredibly irate. He is always looking to start arguments and fights. 'A' is also a wind a merchant, he will cause even the most logical of individuals to lose it due to his personality. A is not a nasty person, he would not intentionally hurt others, he simply gets irate and is frustrated due to his situation. Its clear the relationship is close and they are probably brothers or a father/son relationship. We choose the brothers as we felt the characters are closer in age and are more conflicting than a parent/child relationship. The characters are contrasting which also suggests they are brothers rather than father son. Its clear they are not just friends, because they are close but have different personalities. 'A' is working class and uses casual language such as 'bloke'. He is also interested in cricket which suggest he has probably been a manual worker for his life. B likes to read in the park, which suggests he is more educated. The 2 characters are supposed to contrast as the dumb, irrational, temperamental character and the other more logical, tries to reason, but gradually gets angrier over time before releasing.
Given Circumstances
The given circumstances are facts for the play. Throughout the script, there are facts about the world and character. In 'That's your Trouble', there are few details to go with and the information is mostly vague. The location could be anywhere, the characters are unnamed. We choose London as Pinter is most associated with London. It also provided some back story for the character. The reason the has been written this way is because it could literally be two men in a park, anywhere. “And here we see another 2 men arguing over nothing..”. This is not too typical of Pinter, because Pinter's plays were most written to be universal. This means that the plays could potentially be set in any time and place. The plays can also be applied to different media such as stage, TV or radio.
List of given circumstances for the scene:
Location: In a park with an open space. There are possible food vendors selling food.
One character reads. Shows they are more intellectual
One character imitates playing cricket with an umbrella. Shows they are sportier, more active and has interest in Cricket (Pinter loved cricket)
Carries an umbrella. The umbrella has meaning. It could represent pessimism, it's going to rain. It could represent protectiveness, being under ones umbrella. Potentially, the prop could be anything but I believe the umbrella was chosen with meaning for both of the above reasons. It implies that 'A' is older and protective. It implies he has a negativity to him, why bring an umbrella out to the park? When in terms of weather it's probably a sunny day.
The character has a certain degree of ignorance of physiology and physics. He is not necessarily wrong, just that he only sees it from his own understanding. Sound does go up, but up the wind pipe, up in scales, but directional, in the air for example, moves with the vibration of matter.
The character gets angry easily. The character also tries to wind up the other character. They refuse to back down from any argument, they would never accept they might be wrong in the moment.
A sandwich board carrier is in the scene, but outside of audience vision. They are an object of focus the characters attention. When coming into attention of 'A', it causes him immediate distress.
The play shows the competitiveness between males. It also reveals that people can angry at anything and kick up a fuss in public but rarely speak up for general issues. This play also represents the hypocrisy and naivety of people. The plays present a logical character who is also brought to irrationality by the ignorance of others. They have power to prevent the argument but fall into the trap of engagement. There is also the political element of might equals right. They were unable to resolve the conflict via peaceful terms and eventually they fall into a full blown fight. The winner of the verbal argument is irrelevant, as the winner of the real fight, the physical fight, wins the argument by default. This is the real madness, the absurdity of the situation of the play. We should not be living in this world, as when end up killing half the world in order to prove we are right.
Backstory
Barry was born just before the turn of the century. Barry had a difficult childhood due to his mum being abusive and negligent. Eventually his father had enough and divorced her. HE took Barry away to live elsewhere. Barry's father focused into his business and met another woman soon after. The woman was kinder and of a middle class background. Barry's father saw this as an opportunity to also raise his profile and give his son a better mother. Barry's father and step mother also had a child together, which they called Allen. Barry was vary protective of Allen and still is despite their differences. Both of the children would eventually work within the company, Barry working on the floor and Allen as potential heir. Allen and Barry are different because of their intellectual ability but also their upbringing.
Barry was involved in world war 1 and saw some action. He believed in the story of what it meant and despite witnessing some tragic that has caused some mental distress to him, he did not experience physical harm during the war. During the 20's Barry was able to build on his cricket skills and become a professional level cricket player. It is claimed that he played Internationally for England during his career and that when competing for the ashes, he unfortunately received a hit on the head from a cricket ball. This caused a concussion and possibly further, undiagnosed brain damage. We can not confer if he played for England, but he has unfortunately suffered an injury that causes him issues in communication, movement and memory.
Barry also went through hell during the war. He did not fight overseas during the war, but instead was involved with the Home Guard. During the Blitz, he saw awful scenes where women and children, some he knew, had been blown to pieces or burnt alive by German bombs. He still hears the cries of children in his nightmares. Due it his poor intellectual and social skills, combined with his health and life experience, Barry is extremely frustrated and emotional, but he is unable to express his feelings due to lack on intimacy skills.
When Barry and Allen's father died, they eventually choose to sell the business. This was due to Barry's health. They are also both near or at retirement age. They used to money to buy a house and live together. Living together has strained their once close and caring relationship. Allen is struggling to deal with Barry's problems and so is Barry. Barry also wants to live more independently, but he is unable to grasp that he needs some support. Despite his 'troubles', Barry is often able to bury this inside him and instead created a veil where is can reflect and reminisce on his cricket days. When he goes to the park he imagines that he is playing cricket for England in the Ashes. He is easily annoyed when his illusion is broken in any way, such as a random person walking into the field.
Their relationship is strained as Barry is too much for Allen, but Barry feels he has been abused and treated like a dog. He feels now that Allen hits him to teach him, because he doesn't know how do behave properly. This further adds to their frustration and Barrie's anger and frustration are quick to come to the boil. After being stuck in the house, Allen has allowed Barry to meet him in the park and 'allow him some exercise'..
Scene
The scene begins with two men in a park. One is reading the other is imitating playing cricket. The character A immediate reacts to a Sandwich board carrier. This stimuli leads to a argument and conflict between the characters. Barry initially works to get attention of Allen. Allen is reading a book and completely in his own world. Allen becomes a little distressed by this.
Barry then starts the argument. Each time Barry provides a logical answer to try and nip the argument in the bud before it escalates. However, this forces Barry to provide his own ignorant answer, or to increase tension levels. Barry winds up the character with his ignorance or intentionally, depending on how the argument is building.
Eventually Allen has had enough and decides to show Barry how pain and tension travels through the muscles. Although this is not stated in the script, it seems to be obvious that this is meant to be physical. Allen puts Barry through the works, until Barry collapses.
This seems to calm Barry down for a moment, but Allen then continues to speak down to Barry and talk as Barry being the cause of his headache (his problem). When Allen states, 'hat's your trouble', Barry has had enough and knows what his trouble is, it's Allen (by his perception) and launches into a full blown angry response.
Allen then tells Barry “you don't know what your trouble is..” because Barry doesn't have full awareness of his senses. He is unable to realise his own issues or refuses to acknowledge them. This most likely leads to a full blown fight between them and perhaps some serious injury, but that must remain with the imagination of the audience.
Profile Brief
Name: Barry
Age: 65
Born: East London
Lives: London
Occupation: Retired, was cricket player and caretaker at factory
Relationships: Allen – Half brother. Close relationship particularly when they were younger. The relationship has now strained to the moment of the scene. Has no other close relationships as he lacks the ability, but has some old colleagues that he speaks to when he sees them.
Associated Colour: Yellow – when calm. Is warm and helpful. Red – Is temperamental
Associated Song: Mack the Knife – The music, not necessarily the lyrics (but some of the lyrics).
Associated Animal: Bull – Strong but dumb. Not a predator. Fits of rage.
Favourite Food: Ploughman's Sandwich. Ham cheese + pickled onion. Thick slices of 'proper' bread. Fish and chips on a Friday night. None of this fancy Pizza stuff.
Hobbies: Cricket. Watching, playing and reminiscing.
Physiological traits: Kind, caring, temperamental, lacks intimacy, lacks social skills, poor intellectual skills, extremely hot headed, frustrated, has brain injury caused by concession, poor cognitive and memory, illogical, poor reading skills, determined, tough
Scene Objective: To start an escalate an argument. To win the argument. To cause Allen grief.
Super Objective: To live independently, he does not want to live with Allen any more. He would also like to see Allen find a new women.
Physical Action
The character is very tense and gets angry in moments. It was important to develop physical action which encouraged me as an actor to be able to tap into the required energy for this scene. I needed to be able to make the character as reactive and angry as possible as and when needed. It was important that I did not merely shout or act angry, but to actually genuinely become upset. The reason was that this scene has the potential for creating the most tension and energy. It is a conflict and needs to be reflective. There is also a clearer difference between someone 'acting' angry and an actor being angry. This is due to the energy that real emotions create. The upfront nature of the stage also meant that the anger is more likely to be felt and cause a greater reaction in the audience.
To build anger, I created an expressive and direct character. He uses his arms in a quick, tense aggressive manner when speaking. He will grad at the umbrella or clench fists. When something his winding him up, he would be more expressive with his hands. When he is building to angrier moments he will walk in a circle, look away and look to the skies. These actions allowed me to refine the characters actions and emotions. It was the most challenge of all performances in regards to the use of anger. The style of movement I created for the character allowed me to tap into this energy. The movements were not me, but this other person. It represented them. I needed to build a characters movement whose anger is different to mine, as I may not react like this. By developing the physical actions I was able to create an explosive type of anger and release it at will. I was able to create the anger within the moment and context of the scene. Therefore I found the physical action to be integral to entering the required emotional states and would be an important tool to use in future in this regards. This is because, in the theatre I am in a good mood so its hard to get angry. By using the characters actions and relations, I was able to become angry when performing.
Focus:
Due to the nature of the scene, where the character is extremely temperamental, his focus is mostly directed towards his grievances. This begins with the sandwich board carrier, but quickly aimed towards Allen. TO begin with, Barry is within his own world, but imagining the world outside of himself. The board carrier comes into his inner world. He comes out of his and is instantly focused on the distant vendor. Once the argument begins, Barry is focused on Allen when he is talking. He will speak directly to him and use the props and hands to direct towards Allen. When Allen is speaking, Barry is tense, he is focused internally, on how he will respond. He is being ignorant of Allen's words. He may look out towards the distant to further illustrate his attention. When Allen is building up with anger, he looks inwardly and outwardly. He looks inwardly when he is thinking of the situation and what is running through his mind. He looks externally for inspiration, for an answer from somewhere else. Although the attention workshop was useful for providing some incite into this process, the tension workshop also helped provide clues of Barry's focus. During different levels of tension, it provided an idea of where Barry was focused at each time. The angry bits are directed, the build up is either externally or internally. Barry is unable to say what is truly on his mind, he does not have the sophistication to express his true feeling. This is presented when he looks to the distance. When he looks within, he is experiencing the sensation of manic thought process that makes him angry.
Units and Actions:
Start of scene. A is imitating striking a cricket ball with the umbrella. This is the first and last peaceful moment of the scene.
A: Eh, look at the bloke (Poking). What's he got on his back? He's got a sandwich board on his back? (raving)
Pokes A. Directs attention towards advertiser
B: What about it? (standing)
A: He'll wants to take it off, he'll get an headache? (displaying disdain for situation)
B: Rubbish (standing) A: What do mean? (reacs confused) B: He won't get a headache... A: I bet he will (points with a firm hand)
B: The neck. It affects...
A: The strain goes up (implying with authority) B: Have you ever carried...? (listening but waiting to retort) A: Never! (denying)
B gets more confrontational. He is starting to break. A starts to taunt B, to goad him into arguing.
B: Then how do you know which way the strain goes?.... (ignoring)
A: He'll get an headache in the end (pointing to nose then to other character)
B: There's no end (to this)
A: That's where the brain is (surprising)
B: That's where the... A: The brain (pointing to brain)
B: its got nothing to do..
A: Oh, isn't it? (with sarcasm) B: It won't go anywhere near his brain
Gets angrier, tenser.
A: That's where your wrong (bursting with anger, pointing at B with umbrella)
Returns to 'normal' dialogue
B: IM not wrong... (ignoring)
A: What do you mean? (reacting to B in a confused manner) B: I what? (expresses confusion) A: Sound goes up (expressing direction of sound with hands) B: Sound goes an
The beating. B gets angry and hits A with the umbrella. He strikes a part of the body associated with the script. Neck, shoulders, back, buttocks, thighs, feet and collapse.
(falling, yelling in pain)
A: He hasn't collapse yet (standing up)
When getting back up, B slaps A. A reacts to the slap.
B: He will, Give him a chance. A headache....you don't know how to listen that's your trouble! (ignoring, searching internally, building energy)
Walks away
Thinks for a moment
walks aggressively towards B
Vents
A: I know what my trouble is! (venting)
The actors come together
B: You don't know what your trouble is.. (preparing to fight)
Blackout
Overall objective of scene:
To start, escalate and win argument, one way or another. Through B backing down, or by going to all out warfare.
Emotional Memory
For this character, I had a lot of experience to call upon to use as some base reference for this character. Previously, I had been friends with two brothers who are both in their 60's. They were both strong (did weight training and construction work) but also temperamental. They could easily get into an argument if provoked. If they fell, or got hurt, the would pick themselves up and carry on. They were also very close, so this formed some base to the plays character relationship. They were not like Barry, but had some similarities, such as they are not stereotypical elderly men.
I have also been in 'friendships' with people where we would have the occasional debate on a topic. The debates could become heated and lead to arguments where neither side was prepared to back down. Never did this escalate physically, but eventually both sides would agree to disagree. Neither side would rarely shift views, particularly those with more extreme ideas. Even the most open minded person can fall into the trap of arguing with a fanatic. It's like trying to play chess with a pigeon, the pigeon always wins. This reminds me of the argument between the characters in the play, one is logical and other highly irrational. When Barry starts the argument, Allen could choose not to engage. However, he makes the mistake of falling into the trap and is some ways just as complicit as Barry.
I am also able to get angry at certain times, such as when a dangerous driver cuts in front of me on a fast moving road without indicating. I can become irate in a moments notice. I understand this. I also don't like being mocked. I found I was able to apply this to the scene. Where I simply imagined myself in a situation where I get angry, such as described and it helped moved towards the right energy. Also, the other character mocks my character due to his ignorance. When the words were spoken, I felt this as if I had been personally mocked. I was able to use that emotion and express it thought the performance.
Final Performance
תגובות