The Storyline


One of the most difficult things for me in regards to Tupolski’s role is that as the “No 1” he tends to lead the direction of the play. This means that all major shifts of content, particularly in the first act, rely on me knowing exactly what will happen next. However, I have been struggling to do this because of the random nature of some of the shifts. It was suggested that I should try to make connections for Tupolski’s train of thought between one section of the play and another.

End of Katurian’s speech to the introduction of the form

Tupolski is hinting to Katurian that he was unconvinced by his speech and that he won’t be able to untangle himself from the investigation so easily

Ripping up the form to the Little Apple Men

Katurian is confused. Tupolski can use this confusion to aid his investigation as it is perhaps more likely that Katurian will give away information in this state. The stories could be a part of “Theme Development”- REID

“I give you my word” to Three Gibbet Crossroads

The introduction of the three Gibbet Crossroads could be a way for Tupolski to throw Katurian off. By switching to a story which does not have immediate connections to the investigation, it is preventing Katurian from understanding what is happening- so he cannot form a cohesive argument. “Stopping Denials”-REID

“Right to be nervous” back to Three Gibbet Crossroads

Once again, Tupolski is preventing Katurian from thinking too long over the meaning of “right to be nervous.”

End of Katurian’s explanation- “This reminds me”

Katurian has just finished explaining the Tale of the Town on the River to Tupolski. The second boy who was killed had his toes cut off and Tupolski found a box of toes in Katurian’s house which he will now reveal.

Comments

Post a Comment

Popular posts from this blog

The Three Gibbet Crossroads

The Three Gibbet Crossroads is a riddle. It makes the reader guess the man’s crime, which is supposedly worse than the two others- worse than a “Murder” or a “Rapist. Katurian believes that the riddle is unsolvable, and even says that “ There is nothing worse”. However in Tupolski’s view the man’s crime is that of murdering children, and is therefore another link into the mounting case building against Katurian. The story is a long section of text, and could be confusing for the audience, so it was important to mark out spaces that could be used to suggest certain characters or places. Therefore we had a specific area on stage to show the other two iron gibbets and also the entrance of the nuns. Furthermore, in our version of the play, Katurian should be representative of the man with the unknown crime.   This is Tupolski’s way of emphasising his belief that killing children is the worst of crimes and that Katurian is guilty of exactly that. This explains the italics on “...
Read more

Berkoff Style

Image
This Unit we are exploring physical theatre, acting and the style of practitioner Steven Berkoff. In five mins with Steven Berkoff, he describes how he sees himself first and foremost as an actor, as it allows him to play and experiment with theatre. This is seen in the different influences for his work- Plays such as East and West take inspiration from the poetic style of Shakespeare and plays such as Metamorphosis are adaptions of other writer’s works.   He also takes inspiration from other actors and practitioners. Edmund Kean (1787-1833) performed Shakespeare and had a flair for melodrama. This may have had an impact on the exaggerative style of Berkoff. Jaques Le Coq and his pupil Claude Chagrin studied alongside Berkoff. Le Coq’s use of mime, movement, masks and ensemble are all characteristics that can be seen in Berkoff’s work. Berkoffs style almost works to strip down a work and centre it on movement and experimentation of voice. He places these two things above th...
Read more

Emily Positive and Work Positive

Emily Positive We decided that we would flow straight from the club scene into the montage of Jack and Emily’s relationship, helping to separate them through the use of a music and lighting shift into to create a distinction between the two. We thought that a montage would be the best way to show the development of their relationship and build a connection and understanding of their relationship with the audience. By doing this we thought we could make the audience more invested in the relationship so that in the final scene, the argument and ending of the relationship would have more of an effect on the audience. In this way they would be able to empathise more with Jack. We picked out key moments that we could use to make repeating motives, such as the meal and Christmas memories where they both shared a drink together as well as the engagement and the final scene where Emily would give back the ring. Work Positive We wanted to develop Nasifa’s character and also change th...
Read more