Pre-Performance Elements Will Always Be the Most Important Skills of Performance
Composition
Pre-performance Elements will always be the most important skills of performance:
- Energy (Level 5) upon entering the space
- Focus
- Physical Awareness
- Group Awareness
In composition, we use shape, spatial relationships and architecture to make beautiful stage images.
Spatial Relationships: the space between things & how that communicates meaning
- Space between two actors
- Between an actor and architecture
- Between an actor & the audience
- Playing with extremity
- Body angles can change meaning
- Going from the ordinary to the extraordinary
- ‘kiss or kill’ is an interesting & extreme spatial relationship
- Playing with line (horizontal, vertical diagonal)
- Symmetry & asymmetry
- Shapes on the floor
- Groupings/clusters with counterpoint of a single actor
Centre stage is a very powerful position on stage.
Shape: our body naturally communicates meaning and we need to be aware of it
- We can make extreme shapes
- They can feel dangerous
- Can be proximal (not a lot of space in between body, not much negative space, small as can be)
- Distal (using a lot of space, a lot of negative space in between and around body)
- Can use lines, curves, contrasts
- You can create that sense of danger in your body for an audience
- You can make literal or abstract shapes (abstract shapes express the guts or essence of the theme)
Architecture:
- Can’t be ignored
- Can be broken down into bits
- Some are dominant
- Some are obscure
- Don’t have to touch architecture
- Can direct eye focus towards it
- Can highlight using extraordinary shape
- Can be used in a literal or abstract way
Stage 1: Create a still image of the theme (spatial relationships, shape, architecture- incorporating the Viewpoints)
Group 1 -alone
Group 2 -betrayal
Group 3 – everybody’s gone
Stage 2: Create the image for other end of each theme
Group 1 -Together
Group 2 -Loyalty
Group 3 –Everybody’s here
Stage 3: Create a third image, half way between the two (a transition image)
This provides you with your beginning, middle and end (a great way into to the task)
Then – run the three images together without blackouts (you might need to change order, remove parts, create linkage). Where previously you had the audience close eyes, now explore movement in the transitions.
This can make impact harder without eyes open/closed technique
Add dialogue if you wish but don’t rely on words
It doesn’t have to be a story- it might be three different images, not connected by plot on one theme.
Use sound in your transitions
Movement does not have to link to words
Doesn’t have to be linear –choose words, phrases mix things up etc.
Feel the pull from one image to the next (the tension between two ends)
The stuff of tragedy tells us what it’s like to go from one state to another. It shouldn’t be too easy to go from one experience to another (i.e. from ‘apart’ to ‘together’) which makes it interesting and creates dramatic meaning. What is the resistance in my body to coming together? If I’m initially alone, why does this change? It should be difficult to overcome. What is the obstacle? Where do you feel it? Make it a real experience in the body- the audience will believe it so much more.
You can go on to build composition based on character -Jason, Medea, Creon, Glauce or start with a meaty line of dialogue and explore the themes within:
“My grief has yours for company.”
“Am I not wronged, shall I not suffer, shall I not weep?”
“Children, your mother is hated and you are cursed.”
Decide on theme/focus (drawn from text if studying a specific text)
build composition
add words last
Composition Process: can be applied to any performance as a starting point
Groups of 5
Create 3 scenes between 1 second and 45 seconds in length
Use eyes closed/eyes open technique
Aim for abstract rather than literal interpretations
Find the essence
No bad mime!
No narrative storyline; the essence is theatrical poetry
Non literal action
Symbolic use of space - distance/depth; architecture
No words but sound allowed
Entrances and exits allowed
Not all performers have to be on stage at one time
5 mins to plan
10 mins to rehearse
1st ideas are usually the best
Remember to accept ideas;( the time constraint and notion of 1st idea helps ensemble to work effectively together)
Elements of great Compositions:
Surprise entrance/exit
Revelation of space (depth), object, character
Extremity
Contrast –
- frenzied movement to calm
-single vs. group
-fast vs. slow
-noise vs. silence
-any other contrast/juxtaposition
Simultaneous action/ a sudden halt to this
Food, death, sex (death & sex aren’t interesting when literal)
Music (in support or juxtaposed) (adds another layer for the audience)
The elements: fire, earth, air, water.
Theatrical poetry
Placement of the audience in an interesting place
Specificity
Character/stereotype (push past the everyday)
No acting but reacting
Make it a real experience in the body – audience will believe so much more
What do you want your audience to feel? Eg. If you want them to feel uncomfortable, squash them in a small space, and have the actors in a large open