I performed to an audience made up of my class peers. The piece was a short
movement excerpt I had been working on and had been influenced by previous
rehearsals with Jacques Lecoq's 'Seven Tensions' exercise. The piece involved me
attempting to physicalize some symptoms of post-natal depression that my character
experiences within my project.
The purpose of the excerpt was to physicalize and visually represent the
effects post-natal depression has on the body. The physical movements and
gestures are stylised and abstract.
[VIDEO]
Visual representation of post-natal depression symptoms.
The feedback I received -
1.‘The music did not
match or represent the scene.’
The lyrics were distracting and gave off the wrong connotations
regarding the content of the scene. As the subject matter I am using is very serious
and effects real people I do not want to cause offence or portray an
undignified style or performance. Therefore I have to be more careful when
using music or songs. To move forward, I
will spend more time finding avant-garde style music or scoring that will
compliment my movements and also help tell the story.
2.‘Some of my movement
had elements of contemporary dance.’
I do not want to incorporate contemporary dance into my project
therefore I must evaluate my performance further and work on how I will develop
it so that this does not happen. My reasoning for not wanting to incorporate dance
into my performance is that I am still very much focused on actor training. The
vast majority of my piece is physical theatre and has stylised gestures however
I still want my acting to be believable and authentic and by incorporating dance
this might then get lost.To move
forward – I will focus on mixing my physical theatre training with my acting
training to ensure I am giving an honest and believable performance. Hopefully
the dance elements will fade away when my actions become more purposeful and will
not follow the beat or lyrics of the music as I will not use music like this
again.
Having sent videos and notes regarding the previous rehearsals, I gained
feedback from my lecturer. My feedback was to develop:
The body in space.
‘In
the moment in which an actor enters the stage, his body is there. Even if he
does not move one finger [. . .] his body is there and the audience is watching
it’ (Fusetti 2000)
I
need to have more presense when I inhabit my space. Every move I make within my
performance has purpose towards telling the story therefore I must be aware of
what I am doing and why at all times.
The changes of tempo and
rhythmic states when moving up the 'seven tensions' scale.
‘A movement has no form and no life if it has no rhythm. ‘(Lecoq 1987:
88)
The overall pace and rhythm of the sequence is too similar. There are no
enough variations or noticeable changes when I move into a different tension therefore
It will be difficult for my audience to read the emotional changes and shifts
within the piece.
Changes to be made -
The tensions should be improved by doing the following:
1. Catatonic/Exhausted - I cannot move in this state. I
will draw out the symptom of Insomnia by portraying my characters weakened and
drained physicality. I will put focus on tiny intricate movements and develop
them further as the tension changes.
2. Laid back - I will have more movements within this
section by exploring my space more. Movements will still be very small but will
have a distinction of forming and travel in circular motions.
3. Neutral/Economic - The intensity of the movements and
tempo will increase dramatically. I will explore moving in straight
lines. I will also introduce and explore use of levels.
4. Alert/Curious - I will add more reaction
and characterization towards my movements. My focus will be on
developing a climax or ending for this short sequence.
Taking this forward -
I plan on taking this forward and progressing with my project by really
working on developing all these aspects stated above. I plan to do this by:
Re-looking at each symptom and tension I developed within the
movement sequence (see video on entry 11th December) and
individually working on a small section until I have my desired
outcome. I have to exaggerate and commit more for each tension so
that the transitions between them have more dramatic impact.
[Movement sequence blocked using inspiration from ‘Seven
Tensions’ exercise]
Task:
I used the same idea behind my second attempt
of ‘Seven Tensions’ exercise (see log entry 9/12/15). I allowed myself to move
and perform through my character as opposed to myself.
For stimulus I chose 4 symptoms that
post-natal depression sufferer’s experience – Insomnia, loss of libido, low
self-esteem and anxiety. I then chose 4 levels of tension from Lecoq’s exercise
that I thought would match each symptom.
These where 1: exhausted/catatonic, 2: laid back, 3: neutral/economic
and 4: Alert/curious.
I then used the 4 chairs to represent the 4 different symptoms and used
this area of stage to represent when my character would experience the symptom
and tension.
Every time I move to a different chair the different symptom and level
of tension takes over and I react to this.
Inspiration/Theory -
I took inspiration from my two attempts of 'seven tensions' exercise and
I proposed to try and develop it further to try and improve the outcomes from
previous ones.
My focus was on physical aspects such as posture, walking style and
weight this time. The idea behind my developed version this exercise was to
give myself an open world to explore as my character. The only limitations I
would have is that I had to change my symptom and tension when I came into a
different space where a chair was. The theory was If I give myself an open
world/space to develop and play with my physical training and style of theatre,
then I would hold back less because I had no expectations or constraints for
myself.
‘The freedom of ‘everything is possible’ will allow the invention of a
world with laws other than those of reality’ (Lecoq 1981: 72)
All of these features I drew inspiration from'Theatre of Movement and
Gesture'by Jaqcues Lecoq.
Edited by David Bradby.
Proposed Outcome -
I expected the short sequence to be very underdeveloped and have
projections of myself and not my character. I am at the very beginning stages
of my physical theatre training of Lecoq's pedagogy of exercises therefore I
know that the initial stages of my rehearsal process will need substantial
developments. I assumed that the movements would be clumsy and not make much
sense in regards to the context of the scene as I am style exploring the
different tensions.
Outcome –
[VIDEO] My own developed variation of Lecoq’s ‘seven
tension’ exercise.
I surprised myself through the end result of the sequence and what it looked
like. There are areas of the piece that portrayed aspects of the
symptoms very clearly and I took on a more stylised approach to
the physicality of the tension which is something I hope to develop
even further in rehearsals. I notice in areas of the video when I am beginning to
abandon my inhibitions and beginning to allow myself to totally embody the
emotion/tension my character is experiencing. (See video: 35 - 50 secs) However this can go even further in terms of commitment.
What would I Change? -
I need to work on each individual portrayal of the 4 symptoms
and tensions. I need to look in more detail at aspects such as exploration of
space, rhythm, dynamics, fixed points and obstacles. Through further
exploration and analysis of these individual features of Lecoq's training I
will improve and develop this movement sequence in far more depth so that it
better conveys the symptoms.
Moving Forward -
By looking
into these sections in greater detail my movements will become more polished
and representational of Lecoq's style. Right now they are still being affected
by my own personal inhibitions to let go and also my fitness levels. This will
be something I plan on improving.
List of references -
Lecoq, J. (1987) Theatre of Movement and Gesture. New York: Routledge
Explore ‘seven tensions’ workshop for a second
time only give the exercise context relating to my project. This will add plot
and objective to my movements.
The
context I will add -
A wooden block to represent my characters baby/pram/crib. This was to give me something
to visualize to keep my mind off of trying to move a certain way. The movement
has to come from impulse.
The tensions:
1.
Catatonic/Exhausted.
2. Laid
Back.
3.
Neutral/Economic.
4. Alert/Curious.
5.
Suspense/Reactive.
6.
Passionate.
7.
Tragic.
Inspiration/Theory
–
'What is specific about
Lecoq’s approach is not the body, but the body in space.' (Fusetti 2000:
2)
I want to explore the body in
space by using this exercise to develop my movements in terms of my character.
I had performed the exercise once before as myself, therefore
this time I want to explore how I would move as my character through exploring
the different levels of tension.
Proposed Outcome –
The
aim of the workshop was to explore my character traits. I wanted to develop my
own physical ability but through playing as my character to see if I would hold
back less. I wanted to see how I would engage with the exercise this time if I was
not performing as myself.
My
expectations for the exercise this time were more positive than last time. I
assumed that my movements would be bigger, they would have more purpose and
would ultimately have more commitment behind them. I expected that I would not
hold myself back as much as I would not be performing as myself.
Outcome –
What I did:
[VIDEO] Lecoq’s ‘seven tensions’ exercise performed through a character
and with given context.
Results:
The outcome of the exercise
the second time only had slight improvements from my attempt the previous day.(see blog entry for the 8th of
December.)As I was
performing as my character I did notice that I experienced fewer
inhibitions and that the movements seemed to come from impulse, which is the
intention behind the exercise. Also the scene had relevance to the
context of my project therefore I began the process of character building.
However there still appears to be limitations or a prevention of commitment
behind all of my gestures and movements. I had expected that
my movements would transform and become bigger with more purpose however after
watching the video I realise that I have a lot more workshops and training to
do before I see the result that I want for my project.
What
would I change? -
If I were
to repeat this workshop again I would add different scenarios for my character
to react to. This would develop my project by allowing me to explore different
means for stimulus. I could use this exercise to create scenes for my
character to interact and react to and see what the outcome would look like
going through the different tensions.
Moving
Forward –
I intent to repeat this exercise throughout my
rehearsal project. I had success through character building when exploring this
exercise I felt this would not happen so soon in rehearsals. I plan to research
and possibly introduce an acting practitioner into my rehearsals. I would look
at exploring exercises that focus on embodiment of your character and the
portrayal of emotions as the results of my last two workshops appear to be
lacking this and I propose that, in doing so, this would improve my overall performance.
List of references -
Fusetti, G. (2000)The
Paradox of “Physical Theatre”. United Kingdom: Manchester University Press
Explore the 'Seven
Tensions' workshop which involves physicalizing and moving to the instructed
tension. The tensions are:
1. Catatonic/Exhausted.
2. Laid Back.
3. Neutral/Economic.
4. Alert/Curious.
5. Suspense/Reactive.
6. Passionate.
7. Tragic.
Explore: How these will
manifest through my body.
Inspiration/Theory
-
Aim of exercise -
'This exercise, at its most basic, explores muscular tension and how to
take a particular tension into the whole body, including the respiration, the
eyes and voice. It is a challenge to allow one tension to inhabit you to that
degree.' (Complicite 2014)
· I
work-shopped the 'seven tensions' in order to evaluate the level my fitness and
capability. I wanted to test myself to see if I would move impulsively and not
hold back as I struggle with inhibitions when performing. The aim of the
exercise is to explore physical gesture and the body’s capability to move
through different levels of tension and intensity.
'When aware
of the theatrical dimension, the actor can shape an improvisation for
spectators using rhythm, tempo, space, form.' (Cited in Simon Murrays 'Jacques
Lecoq')
I will be
exploring rhythm and tempo specifically within this version of the 'seven
tensions' exercise as I want to focus on developing these aspects at this stage
of my rehearsals.
Proposed
Outcome -
My aim
was to explore what my body was capable of at this point and to see what repertoire of movements
I had initially. I expected the outcome of the workshop to be very basic
as this was the beginning stages of my rehearsal process. I expected that I
would not commit fully when moving and that I would hold tensions all over my
body. I therefore expected that my first attempt would be held back and that I would
struggle to embody each level of tension.
Outcome –
What
I did:
I performed the exercise
without having gone over the tensions in depth. I wanted to give myself more opportunity
to not hold back. I tried to approach the exercise without hesitation and I did
not want to have any preconceived ideas to try and improve the outcome.
[VIDEO]
First attempt of Lecoq’s ‘seven tensions’ exercise.
Results:
The workshop turned out to
be as I had expected. I was withdrawn
and my focus was not great. I did not commit to each level of tension as much
as I should have and my commitment with lacking. This was due to my inhibitions
and reserved nature. The character of my project requires a larger and more committed
physicality that will captivate an audience. At this stage of my physical
training with Lecoq’s techniques, I will need be repeating these exercises on a
daily basis in order to begin to overcome my self-doubt and incapability to let
go and embody the tensions.
When reviewing the video I
can see that I do not utilize my space very well. I am rooted to one spot of
the ground a lot and this could be due to my low confidence. Space is a highly
important element of my project as I aim to create a space on stage that
represent a literal location and then shifts to a dramatic imaginary unknown
location that represents my character wanting to break free of where she is.
Moving
Forward -
I feel that
I need more practice and to do more research behind this exercise before trying
it again. What I will bring to my project through using this workshop will
be open and free gesture and movements. What I mean by this is that I hope to
train myself through Lecoq’s exercises to then be able move with better
commitment and to not hold myself back due to lack of experience in this style
of physical theatre.
'. . .the
training is very practical and very specific for each student because every
actor's body and mind has accumulated different tensions and conditioned
responses. Lecoq's training methods therefore focus on releasing preconditioned
views of acting and bringing an actor's attention back to ‘playing.' (Ryan
2012)
List of references:
ACU (2012) Lecoq. [Online] Avalible from: http://dlibrary.acu.edu.au/
[Accessed 8th December 2015]
DAY 1 OF PRACTICAL RESEARCH: I will be spending 15 days (just over 2 weeks) simply work-shopping and exploring Jacques Lecoq's repertoire of physical exercises to familiarize myself with his technique and Katie Micthell's style of devising and directing. Lecoq's exercise: 'Moving Off Balance' Objective of exercise Rationale for using exercise Outcome Moving Forward
