Today we worked on the process of designing the set and lighting in relation to the themes we previously developed. The photos are of my group working on the schematics for lighting and the layout of the set. These designs are subject to change because we are still creating moments, and we might need to change the set according to what we decide upon. Also, we chose to create a theme play and not a setting play, so the theme of nostalgia s far more important to our production. I think that this day was very productive because it got our ideas flowing in regard to other aspects of the piece besides the theme. It is important to consider all other elements of a production even if you are focusing specifically on one.
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This week our group was able to decide on the theme, type of play, and some moments for our devised production. The theme was chosen during one of our exercises that involved writing down what comes to mind from the objects that we brought to class: nostalgia. Since we chose nostalgia as the focus of the production, we also came to the conclusion that the play would also be a theme play, as it would be easier to develop characters and the set but make the production just as intricate as a character play or any other. Some moments that we created were made as a result of trying exercises and discussing the theme of nostalgia in our group. We thought that dividing the stage into separate parts of a house or a bedroom would be interesting since nostalgia brings out a warm fuzzy feeling for all of us. I thought that the idea of dividing the stage would be interesting, but it also puts many containers on what we could be able to do. I look forward to developing more moments and writing a script later in the process.
Recently we have begun the devising process within our groups. One of the tasks we encountered was trying to find a method in which we all work best. After selecting an activity from a list, we spent the rest of the period testing the ways that we worked best together. We found that the participation of everyone seemed to be the most successful practice of collaborating, and it made us realize the ways that each individual functioned. Trying out teamwork exercises brought out the characteristics in each member, and through experimentation, we were able to solve the question of developing a plan and a method to devising our piece. This experience was very enjoyable for me because it gave me a break from the normal pace of the classroom but at the same time kept the progress of the group moving forward. I hope that what we found will still be pertinent later in the collaborative process towards the end of the year when we perform out piece before a crowd.
Our teacher handed us a sheet to help us define our preparation, planning, and execution of the devising process. Instead of using the sheet that she handed us, which would immediately limit our ideas and the rest of the process, we decided to devise our own process. For our preparation for planning, we brought in objects, songs, books, and pictures to help nurture ideas. We then consolidated these ideas into themes, and then selected a few of these that meant the most to us. We settled on the theme of nostalgia, and expanded upon this concept by doing exercises of our choice. We wrote about how each of us thought about nostalgia, and we developed some moments from those ideas. After the exercises, we talked about the experiences of today reflected. The file below is a recording of our group reflection:
This last weekend on the 7th of October 2016, we saw the 5th Avenue Theatre Production of the Man of la Mancha. The play was a devised piece loosely based on the novel Don Quixote by Don Miguel de Cervantes. As soon as I walked into the house, I immediately became captivated and remained that way for the rest of the show; the set was intricate, well-designed, innovative, and had incredible amounts of potential. The set did indeed fulfill its potential as the show progressed. The protagonist was Cervantes himself, incarcerated by the Spanish Inquisition with his servant Sancho in a contemporary prison outfitted with a retractable drawbridge, searchlights, chain link fence, and air conditioning fan. The two are forced to comply to the judicial system created by the other inmates and relinquish their belongings until a fit defense was made. Instead of making an argument utilizing reason with a foundation in law, Cervantes chooses to perform a production with the inmates to appeal to the "court." The play is a story of a character of Cervantes' making and is based upon the character in his book in reality: Don Quixote the fake knight and his escapades. The real play ends when Cervantes is taken by the Inquisition to defend himself in their own court. As he leaves with the guards that came to take him, Cervantes finishes his defense only to start another, and we find out that the script which he prized so dearly the entire play was the script to the production of Don Quixote. I loved this play because it emphasized the power of imagination and the absurd to bring out the best within society. It made me realize again how theatre can be used to elicit desires within the audience and sometimes change itself. Elements of this production that I think that our devising group could use are the the multi-use design of set pieces, costumes, and props. Almost everything on the set had multiple uses, and I want to apply this principle to our own production in IB theatre.
This past week in our devised theatre groups we decided on the most important expectations that we all need to fulfill as individuals. In order to function more effectively, members chose 5 characteristics of an ideal company to which each person needs to agree upon:
1. We agree that when we work, we will be present and centered. 2. We agree to collaborate and consult each other often and respectfully, especially when making decision that affect the entire group. 3. We agree that the devising space is an isolated zone where we can respect each other's obligations, 4. We agree that we cannot work alone and that we need each other. 5. We agree to respect the origin of other's work, ideas, and decisions. Each of these are centered around resolving issues and expediting the collaborative process. Although we may not agree upon every aspect of the production, we can still respect other's methods of devising or going about formulating ideas, making suggestions, or putting them into a physical form. I think that these points of agreement are key for our group and any other devising group as they confront issues faced by the process of collaboratively creating a new piece of theatre. Recently, I completed a sheet about approaches to the collaborative creation of theatre. This sheet asked me to describe the process of working within a group in two personal experiences and then to analyze two theatre companies and do the same. I think that this sheet might help me in devising my own piece in the future by giving me ideas and cultivating a creative mental environment revolving around the devising process. If I have a place where I have different styles of working collaboratively, then I could create my own methods via inspiration from those sources. I looked at the theatre companies Art of Fevered Sleep and Fork Beard Fantasies. The Art of Fevered Sleep production company looked at their work from the perspective of visual artists in contrast to theatre makers. Fork Beard approached collaborative creation by experimenting and innovating together using many types of media and materials to make a piece. It made me realize that the devising theatre can be much broader than the script or pre-made set design. I can apply this principle when I participate later this year when I devise a piece within a group of classmates.
I think that devised theatre is collaborating with a group of like-minded people to create an original production that has meaning to all of the members within the group. The production utilizes the various skills and ideas of those in the crew to make a piece that also has individuality and the personality of everyone in the crew. The process of devising for me involves the group coming together and expressing their thoughts on every aspect of the play so that the finished product is satisfactory for everyone and not only a couple members. All members in a devised piece act in the play itself, so cooperation is key when it comes to creating the script and roles that are specified for each actor/actress.
My personal theatre profile is composed of four parts: skills, approaches, knowledge and experience, and interests. My skills revolve around a hands-on style: set design, acting, and/or working in a group. My approaches to accomplishing my goals are similar to the theme of my skills, in that I usually use a hands-on method; initially writing down a plan and visualizing a group but almost immediately experimenting with physical elements afterwards. Encompassed in my knowledge and experience are acting (comedy and drama), set design, and prop management/tech. I have done almost all tech work except lighting or sounds because I like to be in the action behind the stage working with objects that directly have an impact on the actors. My interests include long-distance cycling, cats (preferably fluffy ones), traveling abroad or around the country with friends or family, going to concerts/social events with friends, and that great feeling you get when you finally complete a long term project that has been giving you nightmares for several weeks.
The piece that we watched yesterday was an interpretive production of Comedy of Errors in IB Theatre. It was interesting to see how the theatre company took its own spin on the play. The costumes were incredibly simple yet seemingly extravagant. The role of music in the production was a very innovative component and provided both an emotional asset and a useful yet comedic way to portray the monologues and soliloquies. Slapstick was used to its full potential and was captivating to watch. It made me think of how any production can be molded and shaped to whatever circumstances or ideas a playwright has in mind, and that the possibilities are only limited by imagination. I learned quite a bit from watching this, because it made me realize that practically any aspect of a play is open to interpretation. I thought that the production was not only effective in communicating difficult language such as Shakespearean, but also making it a fun experience in the process.
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