People, Places and Things

People, Places and Things (notes)

References:

- Seagull: Chechoff

- Romeo and Juliet

- Titus Andronicus

Practitioners:

- Stanislavski: naturalism

- Brecht: pace and timing

- Peter Brook

- Frantic Assembly

People:

- Emma: Denise Gough

- Set Design: Bunny Christie

- Director: Jeremy Herrin (Headlong Theatre)

- Playwright: Duncan Macmillian

- Could be seen to have a cyclic nature, (ending in the audition room could be interpreted as a fresh start and a new beginning or alternatively as a cycle of her ongoing addiction). This was an effective ending as it was left open to interpretation and did not try to pigeon-hole the different outcomes that rehab can have.
-Themes: reality vs fantasy, (blurring the lines between what is real and what is not real to show how it feels being an addict and being high/drunk)
-Gesture: holding of brother's hand to convey comfort and how the absence of a character can be more powerful than their actual presence.
-Clones of Emma coming out of bed enhanced the element of surprise and shock, (dynamic and unusual performance factor). Very overpowering and crowded, then suddenly she is alone again to represent loneliness and isolation even when surrounded by the clones.
-Name constantly changing: identity crisis and need to start over again and again, (need for a new life and fresh start). Also shows how she is hiding behind different personas and cannot be her true self, (links to her being an actress; always playing different characters for escapism).
-Traverse staging: made her appear 'boxed in' and trapped inside rehab. Also helped to create a more intensified atmosphere.
-Emotional Connection: breaking down barriers between addicts and non-addicts. Forming connections with the addicts and having an insight into their experiences broke down the negative stigma attached to addiction.
- Could only see inside Emma's head: made us relate directly to her story and again made an emotional connection. Surrealism made us feel disconnected to contrast this and keep the story general.
-Multi-role: "you look like my mother", (significant that the mum and the therapist were both played by the same person). Emma found nurture and comfort from the therapist, (mother figure).
- Changing perception of people with addictions, (moral and message)
- Surrendering to a higher power, (honesty)

Peter Brook Workshop

Peter Brook Workshop (notes)

Peter Brook is a theatrical producer and director who was inspired by experimental theatre; Jerzy Grotowski, Bertolt Brecht, Meyerhold and Artaud all contributing to Brook's passion for dynamic and inventive theatrical techniques.

During the workshop I explored a variety of Brook's theatre techniques, mainly focusing on the methods he used throughout the lead-up to a performance. Interestingly, none of the exercises were independent; they all involved the trust and awareness of fellow performers in the room, demonstrating how Brook strongly believed in team work in order to form genuine connections within the cast. This, in turn, helps to create complex, rooted characters and to convey a real story.

Brook: "But the interesting thing is that such classes help no-one except the individual, because the real exercise with a group of actors is not for the person by himself. It isn't to make him cleverer or a better actor, or a better athlete or dancer. It's to make a group more sensitive to itself. Something quite different. When one does exercises, it isn't to make people more powerfully skilful, it's to make everybody from the start quite simply more sensitive. Once a group becomes more sensitive, each person feels the reward."  (http://www.nationaltheatre.org.uk/discover-more/platforms/platform-papers/peter-brook)

An example of our exploration of Brook's exercises was attempting to form a circle in complete darkness; the lights were turned off and as a class, we were asked to link hands with two people. Eventually - when everyone is holding hands - a whole circle would be formed. Naturally, I was quite sceptical about completing the task, but eventually the class successfully formed a circle. This exercise clearly supports Brook's beliefs about team work and being aware of those around you. In addition, this task required me to put my trust into my classmates and my own instinct, which are aspects of the task I can now apply to my performances and rehearsal processes in the future. Instinct is essential during performance as trusting my instinct will help my character(s) appear more genuine and less 'scripted'.

Additionally, I explored the use of improvisation - one of Brook's theatrical devices; as a group, we had one prop which we had to make into something completely different. This task required quick thinking, imagination and again, instinctive decisions. Not only this, but the use of group improvisation makes you obliged to accept the information you are given. This is useful in rehearsal as it teaches not to doubt other's ideas and to make good use of limited time, (working quickly and effectively).