Dan Negative Scene

We decided that this scene would be a turning point for Dan, when he decides that he no longer wants to keep drinking like he used to and doesn’t think that Jack should. We originally experimented with the frantic style, creating a sequence where the objective was to remove the beer bottle from Jacks hand. However we were struggling to create movements and found when we looked at it in comparison to the other scenes, the frantic style didn’t really fit in with the more realistic aspects of the other negative scenes. Instead we decided to retry the method of making stages of development, asking what we wanted each of the characters objectives to be at different points in the scene. Once we had this we know that our milestones would be to have Dan to stop him from drinking, to see Jack react to this, and then to build this into a point where one is physically aggressive to the other. We came back to this rule of three in order to do this, building irritation by having Dan stop Jack from drinking each time- the methods becoming increasingly drastic and Jacks anger worsening. From watching the scene, we could see that the angle of the stage combat, in particular the punch was really important for making it seem realistic to the audience. We therefore worked on moving the positions of the characters on the stage throughout the scene so that the masks were visible without the falseness of the punch also being visible. We decided in particular that it was important for Dan to really pull back his arm on the punch so that he turned his mask towards the audience before turning more away for the punch.

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