Video Presentation
The techniques used to create the devised work
Unlike most performing styles that have fixed methodology, devising theatre takes techniques from a wide range of practitioners. Although we have explored techniques that could be associated with a number of different practitioners and troupes, there are some who cover the main elements of the devising practice. For our performance, which was story driven and made up of a number of transitional scenes.
Stanislavski: Stanislavski developed techniques for character creation. He also used actions to build scenes. We used 'around the table' and 'hot seating' techniques for devising ideas and traits for our performance. This allows performers to build their characters profile and also form an understanding of the character. The around the table was used for devising the main theme, basic character and performance. From this we came up with the idea for using a circus theme and the basic performance of our characters. Originally I had intended to perform behind a 'mirror'. I was able to later change this to a water tank. Characteristics such as having 'a ring' like appearance. The hot sating technique was useful for devising background information for our characters. This can also be performed as the character. The information helped us create a script and story for our performance. It was also useful for developing our base characters and introduced how we ended up in the circus. It also helped develop our interactions, we were able to interact through our characters after this session. I was able to suggest my water tank idea and get positive feedback from the group. As the story and characters were simple, the technique was not utilised as much as it would be in a typical performance, but was still useful for providing base information. The hot seating and around the table techniques are valuable tools as a grounding for any performance. I would use these tools when devising a performance or looking to build characters from script. Unlike Stanislavski, I found that in character, there was no fourth wall and I was literally breaking through the 4th wall to attack the visitors.
Theatre de Complicité. With a combination of techniques and rehearsal style we have have used this term, the practice would resemble Theatre de Complicité I found, many of the devising games we used such as performing a scene within a a square, were useful tools for opening the imagination and responding to the actions of the other actors. Lecoq's 7 Levels of Tension is also used extensively by Theatre de Complicité as it is used to train finer movement and help devise. We used scenes such as watching TV or a football match and reacting to to various imagine stimuli that scenes would create. A football match is an excellent example of how an event changes in tension. Games can be like a roller-coaster, with a team winning for most of the match before losing in the last few minutes. The technique can be applied to existing scene by changing the tensions in characters to devise new movement, script and reactions between performers. The characters may start with a pre determined level of tension and then change the tension in order to change the scene. I was able to explore this via a wedding scene during Tanya's workshop. The characters tension was tweaked and this changed the result. I was able to play on the tension and this change the interactions and dialogue of the other characters. Overall, I found the 7 levels of tension useful for exploring emotions such as aggression which I used in the performance. I wanted to able to move between different tensions in order to create moments of suspense combined with bursts of aggression. After the workshop, I found I was more capable and comfortable of acting more aggressively.
Artaud: When devising the piece, we had been commissioned to create a fright mare style performance. For this, it was obvious to look at Artaud for influence. Artaud's style is about shock and making the audience feeling uncomfortable. The style is seen as offensive and in your face. We were able to make use of SFX and LFX to help set the scene. As Artaud is live theatre, the effects are more useful than those used in Film. The style of our performance bears many resemblances to Theatre of Cruelty, such as my characters shocking interaction, loud noises and the use of 'blood'. After watching performances in this style, I was able to get a better impression of how to perform to an audience who want to be shocked. I used shouting and highly aggressive actions within my performance. I got up as close to the audience as possible. I was able to perform an eerie scream when simulating being punished by the ring master. As I am not accustomed to screaming and shouting I had to train myself to be comfortable at performing them. The main focus was to ensure the diaphragm was used for projection.
Knee high Theatre: Having explored Knee high Theatre, the Frightmare style shares many similarities The most important being the I breaking of the 4th wall and immersive performance. With Knee highs performances, an actor will lead the audience between scenes making the audience part of the performance. This may be friendly, but could be aggressive depending on the play. This is very similar to the use of the ringmaster in our performance. Each performer had their own scene in a flowing, open stage. I set up my character within a water tank. I did not want to just act, but also create an atmospheric and immersive scene. I used graphics and fairy lights to draw in the audience. With the audience attention focused, it set up the perfect jump. This style could be used elsewhere, such as making a stage from many rooms if a single large space is not available. Knee high also make the use of natural scenery, so therefore, as we did not use a typical stage, this also combines the styles. The style is useful for social distancing as it allows many small audience groups.
Copeau: Although the performing style of Copeau most resembled Commedia or Mime, his training practices was more wide ranged. The actors would be involved in production, such as producing their own costumes and props on top of their character. With our performance, as we have no crew, we were required to manufacture our own scenery, costumes and props. We were also required to setup and breakdown the scenery for each performance. We took on natural roles depending on what was required, such as stage manager or script writer. I enjoyed the freedom of being able to perform and produce. I was able to use non performance skills such as painting to add graphical effects to the performance such as my tank and the mirrors. I was able to work more closely with Jamie on deeloping our interaction. I was able to work with Connor to push him to be more aggressive.
Frantic Assembly: We explored several techniques from Frantic assembly, such as flying and touch workshops. However, due to the way in which the ringmaster lead the audience through the performance, following a route throughout the performance, resembled the grid exercise. We developed the route by following a imaginary path through the theatre space. Each time we found new scenery, we would again follow the route. We were able to determine how this effected the route and the location of performers. In rehearsals, we were able to determine locations for props, scenery and performers sets for the performance by following through the route. We improvised via following the route,playing in character or as audience members. We gained new perceptive from simply following the route. It allowed us to explore the new space and find areas for additional scares. As we passed through the route, we were able to determine anything that might be need to be added to the space, such as a door covering or additional lighting.
Laban: We used Laban's 8 Efforts during a workshop. The workshop is based on a set of specific movements that are matched with other variables. I found this technique useful for developing some movement for my character, such as dabbing and pressing actions. I understood that this method could be help to create a choreographed routine that is repeatable or transferable. I can describe my performance in a language that is translatable. At each sequence of the performance, that action will match a dab, a press, a slash, a punch. It has this speed, it is direct.
Lecoq: Lecoq's 7 levels of tension was explored as a workshop. It was useful for gaining a understanding of the finer levels of movement between tension. It was also useful for breaking inhibitions and tapping into the higher levels of tension. This was important for developing the necessary levels of tension required for my characters performance.
Joan Littlewood: Littlewood encouraged free play within her group, which provided them with freedom to develop their characters and devise scenes. The group imagination is greater than the individuals imagination, which is similar to the approach we took by not having a specific director or pre existing script to work from.. Unlike many devising theatre practioners who aim towads a minimalist style, Littlewoods production were rich and full of detail. We were able to fill the theatre space with a circus like maze. We aimed to make the theatre feel as much like a creepy circus as possible. We had detailed characters and individual scnery.
Grotowski: Grotowski style is immersive and often performed without a true stage. The theme and setting are often quite dark. The main element of Grotowski we incorporated into our performance is acting as props. Due to our performance style, as performer we were like moving props, or interactive art, than performers. Often, performers would take part of props or scenery within a Grotowski performance.
Frightmare Workshop: Adam who is a GlosCol student and also experienced as a fright mare performer, provide insight specific to this style. He was able to demonstrate various scare tactics and allowed us to practice various characters. He also advised on the used of loud and harsh sounds and to avoid the use of soft sounding words. The workshop was very useful for gaining an understanding of how to perform in this style and also how to incorporate the techniques into my characters performance.
DV8. Although their style is dance like and conveying a message, DV8 are focused on accessibility and making their performances available for a wider audience. We took into consideration wheelchair access and also made our performance available in 360 VR, when producing our show.
Meyerhold. Meyerhold took into consideration of how entrances/exits could be used in the performance. As the theatre has an entrance at the front and a emergency exit at the back, we decided that we would be able to make these the entrances and exits of our performance. We could build the performance that linked the doors together, avoiding the need to loop back within the theatre. This also produced more space for the performance and added new elements such as confusion and disorientation. We were able to use the drapes to create new entrances for performers to enter and also found spaces to make additional jump scares.
Stimulus used
For our performance, our stimulus was to create a performance that was themed around Halloween. Frightmare festivals are now typical of this season and the performance was to be based around that concept. We aimed to make the performance as inclusive and accessible as possible. When producing the scenery, we ensured that the tour would be safe for wheel chair users. We took into consideration COVID, our performance style allowed small groups within the audience, whilst allowing many groups to partake in experience. By producing a 360 VR film version of the tour, it allowed the performance to be made available to anyone regardless of their situation.
In terms of performing, we needed to be responsive to the audience. If we were not effective at scaring one audience, we needed to be receptive to this and work harder or adjust our performance.
Live Theatre provides the power for a connection to develop between the audience and the performer. If the audience are intrigued by your performance or message, it is possible to respond and engage more deeply with the audience. If you are failing to stimulate a particular emotion within the audience, it may be that further work into technical application is required.
The performance was also created to raise money for Alzheimer's research. Although this wasn't included in our performance, it could be used as a stimuli for devising theatre that raises awareness of Alzheimer's or other illnesses. Devising Theatre can be method of raising money and awareness for any cause. There is opportunity to explore any issue and opportunity to target an audience. Troupes can gain experience, raise their profile, raise awareness and make money for themselves or charities by exploring stimuli that a target audience can relate to.
Commissioning types:
Commissions can come in the form of a 3rd party, for example, a school, providing a stimuli for a company to produce a piece of devised theatre. This could be an issue that the 3rd party is trying to raise awareness for. The issue could be a cause that the organization is linked to such as deforestation, or may want to raise awareness of a personal issue such as disabilities.
A troupe may also have social political issues they are concerned with and may devise new performances based on raising awareness of these issues. Often a troupe will also devise pieces based around local legends or stories in order to rise awareness or create an identity. Therefore they will self devise performance around the stories and issues they wish to communicate.
With our performance we devised a performance based around the commission type of a themed performance. The theme being the Halloween season. Frightmare is a typical performance style for this time of year, but other styles such as Artaud or Grotowski could be explored. There are also other seasons and events that could be turned into theatrical performances, such as devising a Santa's Grotto for Christmas.
The process of creating the work
To create the work, we first used devising techniques such as Q&A sessions and Hot boxing. These techniques were used to gain a rough idea of our performance theme and the characters we will be using during the performances. In class, Sonia took us a through a number of workshops to provide us with techniques that allow us to explore different movements and emotions that may be useful in our characters. For my own character, I was able to gain new incite into how my character would develop by working collaboratively with the other performances. For example, I was asked personal questions in order to develop back story. This was important for developing my characters interaction with the ringmaster.
I found Labens 7 levels of tension useful for breaking into the tension levels required for my character build. The tensions would range from mid to high, in order to create micro scares and moments of suspense during my performance. I also needed to tap into the higher levels when acting aggressively.
The 8 efforts were a useful tool for devising movement for the character. Before this, my performance was mostly improvised and based around animal like movements. After this workshop, I incorporated specific movements learned from the exercise such as dabbing and pressing into my characters performance.
Adams workshop was fundamental for the class as it gave as a good incite into the performing style from a performers perspective. Due to the intensity of the workshop, it helped to break inhibitions and encouraged us to add intensity to our performance.
Through rehearsal, I needed to work on interacting with the ring master and also my interaction with the audience. I needed to ensure I had an effective jump. I needed to ensure my appearance and act was intimidating. With Jamie, the ring master, we adjusted the script and worked on our interaction to build to a point where I begin to escape. We also added the part where I escape and he comes back, due to rehearsals. We used a combination of backstory and improvisation to develop the routine overtime, whilst also allowing freedom to improvise within the live performance. It was important to have twists in the performance so it did not become repetitive and could also be adjusted to cater for different audiences.
We devised most of our props, scenery, back story and direction through rehearsals and free play. Through collaborative free play, we were given freedom to work on our characters movements and produce the scenery. I had a rough idea from day 1 what my character and scene would look like. However, I had to work to create something similar to my initial idea. I then spent time making adjustments to my costume and scenery, adding details such as blood and tweaking the lighting FX.
I added small details such as fairly lights, that framed the entire performance, encouraging the audience to look within the tank. We also took into account hazards such as the netting and falling boards, so we made adjustments in these areas as we produced the set. When devising, we would find there was something lacking in an area, so we would share ideas and make changes as we went along. For example, using glow sticks in the tunnel in order to create an eerie but enchanting scene. The glow sticks also provide enough light to make the tunnel less hazardous. At no time did we have a final exact version of the performance in mind, it was through devising that we constantly made changes and improvements to the performance. Potentially, the 'final' product could still be improved, further details added, new characters created. Characters used within alternative performances.
Solo rehearsals were also an important part of the process. I was able to practice voice, sounds, movement and jump technique through filming and studying solo rehearsals. I found I was able to appear from nowhere if I his behind a black sheet in low light conditions.
For more details on this process, please review my Term 1 Class Journal.
Target audience
Devised Theatre allows production to be devised with a target audience in mind. This is different to other styles of performance where a production is often created from scripts and then advertised or broadcast towards the general public. A troupe may be ask to devise performances from a stimuli and performed in knowledge of who the existing audience may be, or targeting a specified audience. This provides performers in devised theatre to connect to the audience on a deeper and more meaningful level. The message and story conveyed in the performance is relevant to the audience. For our own performance, the target audience was college students who are interested in fright mare festival. Our performance was therefore devised taking into account that we needed to create a immersive, horror style performance, that was inclusive on any college student/staff. The audience were in attendance on order to be scared or freaked out by the experience. Therefore, we needed to produce scenery and characters that would have this desired effect. We knew that the audience were interested, so it made it easier to focus into characters and effects that would scare and intimidate.
Devising is therefore advantageous, because by being able to choose your audience. A company can get work by being commissioned by an organization. They can devise pieces that evolve around issues or themes that people are interested in. The audience can become connected by the experience on a more intimate level than mainstream productions. Everyone in the room relates now only to the spectacle, but the issues of the story. This is the definition of connection.
Performance space considerations:
Devised Theatre provides the freedom to produce a performance around a particular venue. Typically, this is in a theatre, town hall or similar indoor space. However, this space could be anywhere, such as rugged coastal locations used by Knee High Theatre, or a tabletop stage within a Grotowski styled performance. When devising a performance, the space always needs to be considered. This could literally mean the physical space available for the performance and audience. How big is the stage, what is the location of the stage, is the performance fully immersive. How large is the audience? Is there a enough space to allow social distancing. When looking at space we are also looking creatively at what we can devise within that space. Each venue will be suitable to different styles of performance. Devising allows the flexibility to create performances to suit the venue. If there is an interesting outdoor space, or an available room anywhere? The space could also be determined by commission. The troupe will need to take into account the organizers chosen venue. Each venue will have different variables and unique features. Does the venue offer features that the actors can use in the production such as new entrances, or layers for a stage? These unqiue features can add creative twists if the same play is being performed in different venues. Does the venue already have potential props and scenery available? Simple items like chairs and tables are commonly available, so pieces of theatre can be devised in advanced around the use of simple props. By making use of the space and whats already available, troupes can be creative in their production and possibly increase profitability of a performance.
At college, we had the theatre space to use. However, we did not use just a stage platform, but used the entire theatre space. Like Littlewood, we had layers of staging, which was used to allow the performers elevation above the audience. We filled the theatre space with whatever scenery and props we could collect and produce. We aimed to turn the theatre space into a circus freak show, and we achieved this by the use of boards and materials. Lighting and SFX were also important to changing the space into a circus, to make the space claustrophobic, unrecognizable and unfamiliar. The audience were disorientated even though they had an awareness of the theatre room. This performance could be reproduced in any similar space, such as village halls or warehouses, as it does not need to be exclusive to a theatre. We also considered how many visitors, audience members we could hold in this space for the period. We decided on groups of 6-8 people was enough for our space. When putting on productions the audience will always need to be considered. The size of the audience and nature of performance has to work with the venue. I think the Frightmare style is used because it is COVID friendly. The style allows small groups or 'bubbles' of visitors. Rooms can be used to create further social distancing. Frightmare could persist in times of panic caused by the virus due to its allowances and also because young people are less likely to be deterred.
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