FEBRUARY 5th - Friday

SCENOGRAPHY IDEAS DEVELOPED SINCE PROPOSAL

JANUARY 14th - Thursday

SCRATCH PERFORMANCE FEEDBACK: 14/01/16

[VIDEO] Performance influenced and developed by 

Lecoq's 'Neutral Mask' exercise &

Lee Strasberg's 'Personal Object' and 'Private Moment' exercises. 

insert video of performance of scratch. 

Feedback

tempo's 

semiotics

Moving Forward

JANUARY 12th - Tuesday

REHEARSALS: 12/01/16

Task:

Workshop Lee Strasberg's exercises 'Personal Object' and 'Private Moment' to develop believable acting. 

Objectives of exercises:

'Personal Object' -  To develop a sensory response as opposed to an emotional one.

'The personal object is always intended to accelerate the response of the individual. Built into the personal object is a greater degree of responsiveness, meaning, and experiences; therefore stimulates reactions more powerfully. (Strasberg edited by Lola Cohen 2010: 22)

Rationale for exercise - 

I have felt that my acting has appeared false and not nearly credible enough for the subject matter that I am portraying therefore I propose to explore and develop Strasberg's exercise to attempt to bring more validity to my project.  

'Private Moment' -   To help the actor learn to behave as though in private but publicly.

Rationale for exercise - 

As my project takes place in the living room of my characters house what is happening to her is essentially behind closed doors. She experiences isolation from the world therefore I am not only trying to portray her experience and emotional journey,  I am also trying to train myself how to act and behave as though I am in private but publicly to an audience. 

I feel this aspect of my project will add another dynamic layer to the performance as I will not just be mimicking a post-natal depression sufferer but I will be attempting to create an environment of privacy that an audience will be spectating. 

Proposed Outcome

Outcome

[VIDEO] First attempt at 'Personal Object' exercise. 

[VIDEO] First attempt at 'Private Moment' exercise. 

Moving Forward

List of references - 

Cohen, L. (2010) The Lee Strasberg Notes. New York: Routledge

JANUARY 11th - Monday

REHEARSALS: 11/01/16

Task:

Develop movement sequence based around Lecoq's 'Neutral Mask' exercise. 

Objective of exercise: 

'Through the neutral mask, Lecoq is trying to return his student to the precognitive state, where he is free to gather fresh mimic expressions' (Felner 1985: 158) 

The incorporation of the mask eradicates all facial expression therefore forces the performer to heighten and explore their bodies physical capabilities of telling a story. The mask is used a tool for training in mine however I have chosen to use it as part of my performance. 'The Neutral Mask captures a facial expression that is neither sad nor unduly happy but maintains a point of equilibrium' (Chamberlain and Yarrow, 2002: 76) As the mask represents a calm state of neutrality, devoid of expression or emotion, I am going to use it to develop my characters lack of feeling toward her child because of her post-natal depression. 

The mask signifies a change within the scene. When the character wears it she is free from what she feels is stopping her being happy, which evidently is her baby. However she starts to show negative and almost evil qualities towards her baby and this scares her therefore the mask also represent her struggle with her inner demons. 

[VIDEOS] Neutral Mask movement sequence in 2 parts.

PART 1 - 

PART 2 - 

Proposed Outcome - 

By using the neutral mask, not only as a training tool, but within my actual performance, I hopped that the inhibitions I had been experiences in previous workshops and rehearsals would begin to disappear. As the masks purpose is to free the actor, i proposed that this would change my movements and gestures completely. 

I expected to see more use of space, larger and freer movements and commitment and purpose behind every single action within the piece. 

Outcome - 

The outcome of the piece and the difference from other rehearsals and performances was significant. There is a huge change, not only in my literal moves, but in the overall energy of the scene. I appear to be embodying my character far more than I have been and my body is telling the story as opposed to the music or exercise I was exploring. (see log entry DECEMBER 14th for notes) 

The use of the neutral mask has been extremely effective in lifting the barrier I was creating for myself due to nerves. As i have little to no inhibitions within this performance every move or gesture appears to manifest organically and impulsively giving the performance spontaneity. I feel this is important, specifically for my project, as the nature of the themes and issues are fragile and delicate as people really experience them. Therefore it is important that the performance seems fresh and that I am effective in portraying my characters experience. 

Moving Forward - 

The areas of the performance where I am not using the mask still need work. My emotional responses towards the baby crying are not varied enough and there does not seem to be enough urgency or intensity behind how I am reacting.

I had previously took note in another log about introducing an acting practitioner. (see log entry 9th of DECEMBER) My focus is entirely on the physical execution of my gestures and moves therefore my acting is lacking and is not believable. I propose to focus my next rehearsal on introducing and exploring an acting practitioner.  

List of references - 

Chamberlain, F and Yarrow, R. (2002) Jacques Lecoq and the British Theatre. New York: Routledge

Felner, M (1985) Apostles of Silence: The Modern French Mimes. London: Associated University Presses.