Phoebe Elliott
The sceneographic decisions within Fractal have resulted in exploitation of the performance space’s potential for creating reality and illusion. There is no obvious time, place, era or plotline to Fractal, it displays emotion through the physicality of individual relationships and therefore the scenographic elements do not reflect a true to life environment. It is not apparent from the set if the location is intended to be outside or inside in fact some elements of the stage contradict others when looking at time and place for example, as there is a grand piano up stage left with photographs in frames on it, one would assume this was an indoor piece of set much like the lanterns hanging from the lighting rig although there is an obvious genre comparison. Whereas up stage right there is a pond filled with water that quite clearly presents an outdoor environment. The contrast between having objects used indoors and outdoors suggests a sense of illusion or fantasy to the piece, on the other hand there are props used within Fractal that reflect modern day culture such as bar stools and The Sun newspaper. By using these particular items it sets a scene and creates a connection with today’s society in which the audience will understand accurately unlike some other scenographic elements.
Alison Oddey states in Potentials of Spaces; "The potentials of spaces for performance are necessarily spaces where the reality and illusion are both a simulation of the material world but also, and simultaneously, real." Fractal displays a variety of ideas from performers in a bar scene using modern day props whilst interacting through movement and a Victorian Gentleman drinking tea, reading text establishing the tone within the piece.
There is clear exploitation of the potential of the performance space for creating reality and illusion, nevertheless all the scenographic decisions were chosen carefully and deeply considered from all aspects of the performance. Potentials of Spaces reads; “There is a poetic intention alongside the practical, where the spirit of the space develops alongside the nature of the performance.” All elements of the scenography within Fractal have been inspired then constructed around the development of the performance which has resulted in a collaboration of illusion and reality simultaneously.
(Alison Oddey, 2006) The Potentials of Spaces
Saturday, 26 April 2008
Friday, 25 April 2008
Assessment two:
Francesca Meredith
At its simplest, physical-theatre is theatre where the primary means of creation occurs through the body rather than through the mind” Callery (2001, p.4). At first, pedestrian movements can help a performer create and develop their character. By using everyday movements they can explore the emotional aspect of their own development without having to worry about lifts or physically demanding techniques at an early stage. “I prefer the term 'movement' to 'dance' because I feel that dance is only one type of movement” http://www.dv8.co.uk/about.dv8/LN_danceabout.html, Here Lloyd Newson, Founder and Director of DV8 Physical Theatre explains that by referring to the work as ‘movement’ it does not restrict the performers or the piece in any way. Movement can mean a slight bend of the wrist or a stroke of the face, and it is these moments during performances that can add an emotional meaning and a more naturalistic quality to the piece. Pedestrian movement is as much a part of Physical Theatre as the techniques and lifts, creating a contrast and even aiding the transition between other, more abstract movements.
“At first, art imitates life. Then life will imitate art. Then life will find its very existence from the arts.” Fyodor Dostoevsky. Relating back to Susan Broadhursts quote, this infamous citation by Dostoevsky can relate to the meaning of pedestrian movements being used in such a genre as physical theatre. When used in a performance it can allow the audience to relate to the movement or performer as it is closer to real life, creating a larger impact on their perspective of the piece, and a greater sense of how the character is feeling or the emotional journey of the performance.
During Fractal, the many different journeys will take the characters and audience on an emotional rollercoaster as we all encounter the different scenarios and situations. There are moments when eating a sandwich or the struggles of opening an umbrella are just as poignant as leaping from a block or performing a challenging lift.
Friday, 18 April 2008
Scenographic Blog One
Phoebe Elliott
Personally I think it was extremely important to have experienced the sessions during semester one Process and Performance, so that we could fully comprehend the journey in which the performers have taken to form individual relationships within the group, learn techniques and grow not just physically but emotionally along the way. I have taken the same physical journey as the performers and understand the barriers they have had to overcome and how rewarding an experience can feel.
I have found it useful to observe the group through the rehearsals of Fractal, because my ideas and designs have been inspired by individual performance, ensemble work (the ritual) and without careful analysis of discussion on the blog and feedback during class, I would not feel confident the scenographic elements would be appropriate for our piece.
An interview with the artistic director of Motionhouse’s Driven, Kevin Finnan reveals that the set is their starting point;
The initial research revolved around space and performance.
“The set is the start point,” he maintains. “Because of the very strong link between space and performance my most recent productions have always had the basic set concept well in place before the company began working on choreography so the dance language we arrive at is very much inspired by the physical environment presented by the set itself.”
http://www.motionhouse.co.uk/documents/SyndicatedinterviewwithKevinFinnan_002.pdf
A company that instigates their ideas based around the set do not leave much opportunity for an emotional input and explorations to take place. They are thinking more about how the end product will look from the beginning rather than the process it takes enabling them to construct the final piece.
Similarly a lot of text based work has set and costume designs pre-written into the script as the writer has their own vision, however I have taken a different approach as Fractal is based around many different fragments creating a whole- and I feel this applies to the scenographers also, we are a part of the performance not a separate aspect. By working this way the performers should feel comfortable in the costume, lighting and space we create as the scenographic elements were designed and inspired by the performance.
The designs we have put forward have generally been well received and the cast seem to like most of our plans however there have been one or two suggestions. It is important the performers feel comfortable within the space and we are happy to hear their thoughts. Our projection design was rejected as a result of the comments from individuals and a rethink on the visual aspects involved, which encouraged me to consider various possibilities. I have designed a collage of sections of the performer’s faces, seeming like pieces of broken glass- it has been well received and at present the way we are going. Therefore rejection and suggestion from the cast is a vital part of the scenographic development. I realise even now we have nothing set in stone but all our designs have been carefully thought-out and motivated by each and every member involved with Fractal.
Personally I think it was extremely important to have experienced the sessions during semester one Process and Performance, so that we could fully comprehend the journey in which the performers have taken to form individual relationships within the group, learn techniques and grow not just physically but emotionally along the way. I have taken the same physical journey as the performers and understand the barriers they have had to overcome and how rewarding an experience can feel.
I have found it useful to observe the group through the rehearsals of Fractal, because my ideas and designs have been inspired by individual performance, ensemble work (the ritual) and without careful analysis of discussion on the blog and feedback during class, I would not feel confident the scenographic elements would be appropriate for our piece.
An interview with the artistic director of Motionhouse’s Driven, Kevin Finnan reveals that the set is their starting point;
The initial research revolved around space and performance.
“The set is the start point,” he maintains. “Because of the very strong link between space and performance my most recent productions have always had the basic set concept well in place before the company began working on choreography so the dance language we arrive at is very much inspired by the physical environment presented by the set itself.”
http://www.motionhouse.co.uk/documents/SyndicatedinterviewwithKevinFinnan_002.pdf
A company that instigates their ideas based around the set do not leave much opportunity for an emotional input and explorations to take place. They are thinking more about how the end product will look from the beginning rather than the process it takes enabling them to construct the final piece.
Similarly a lot of text based work has set and costume designs pre-written into the script as the writer has their own vision, however I have taken a different approach as Fractal is based around many different fragments creating a whole- and I feel this applies to the scenographers also, we are a part of the performance not a separate aspect. By working this way the performers should feel comfortable in the costume, lighting and space we create as the scenographic elements were designed and inspired by the performance.
The designs we have put forward have generally been well received and the cast seem to like most of our plans however there have been one or two suggestions. It is important the performers feel comfortable within the space and we are happy to hear their thoughts. Our projection design was rejected as a result of the comments from individuals and a rethink on the visual aspects involved, which encouraged me to consider various possibilities. I have designed a collage of sections of the performer’s faces, seeming like pieces of broken glass- it has been well received and at present the way we are going. Therefore rejection and suggestion from the cast is a vital part of the scenographic development. I realise even now we have nothing set in stone but all our designs have been carefully thought-out and motivated by each and every member involved with Fractal.
Post 1
1 i) The creative strategies used to enable us to explore our relationships further were exploring the space and discovering new relationships by interacting with characters which we aren’t necessarily familiar with. The reason it was beneficial was that it helped us to further define our characters and their attitudes towards others, this in turn helped cement the relationships we had originally as the interactions we discovered in these new relationships made us realise what made our original interactions so enjoyable to ‘play’ with in the first place.
ii) The reason these explorations were so beneficial was that it tied up any loose ends that our characters had in their established relationships which in a way gave us a summary of our characters and relationships journeys we had undertaken. This in turn presented us with the opportunity to reflect on the work we had created which from a personal point of view cemented my characters place in the community and gave him a purpose to be there. This in a sense gave my character something to fall back on should he feel rejected in any new relationships he encountered as there was a realisation that he was an important and established member of society.
iii) The impact this has when looking at it in relation to my earlier journey through fractal is one of comfort as in many ways my characters feelings reflect my own in terms of having a purpose in the community. The freedom of exploration is also an element I enjoy with my character as again going back to the beginning stages of my journey my own reservations and feelings of apprehension towards the work may have originally held me back. In the same way my character seeks respect and appreciation from the interactions encountered I myself have that level of comfort now with the work and journey I have thus far undertaken and now take pleasure in exploring.
ii) The reason these explorations were so beneficial was that it tied up any loose ends that our characters had in their established relationships which in a way gave us a summary of our characters and relationships journeys we had undertaken. This in turn presented us with the opportunity to reflect on the work we had created which from a personal point of view cemented my characters place in the community and gave him a purpose to be there. This in a sense gave my character something to fall back on should he feel rejected in any new relationships he encountered as there was a realisation that he was an important and established member of society.
iii) The impact this has when looking at it in relation to my earlier journey through fractal is one of comfort as in many ways my characters feelings reflect my own in terms of having a purpose in the community. The freedom of exploration is also an element I enjoy with my character as again going back to the beginning stages of my journey my own reservations and feelings of apprehension towards the work may have originally held me back. In the same way my character seeks respect and appreciation from the interactions encountered I myself have that level of comfort now with the work and journey I have thus far undertaken and now take pleasure in exploring.
Thursday, 17 April 2008
Fractal. Blog Assessment One.
Frankie Meredith:
The strategy used was extremely simple, yet effective when it came to tying up loose ends and creating interactions/relationships with many of the characters. As we were walking around creating new relationships and exploring new situations I felt extremely uncomfortable, it was as if I had been taken back four months to when I did not want to take part in dance theatre or even understand it as a genre. Having people look and try to interact with me was confusing and from my perspective forced. I wanted to question their own ability to see me, why did they want to, was it sympathy? Did they feel we had a connection? Or was it just because they could? This exercise had no benefit to my character as whatever interactions did take place would not have evolved or helped me to resolve a relationship, as I feel I have known my characters fate for a while. This does not mean my character is complete or I have by any means completed the process of her emotional development, just that the focus has shifted to getting the attention of Glenford as opposed to any other member of the community so there was no need for any other relationship to develop from this exercise.
There was no exploration for my character in this scene as I already knew the relationships I encountered and how it would all end. I found it hard to want to communicate with anybody else. My emotional journey is still far from over I just have a firm grip on who my character is and herself in relation to others. I am so far away from the community now I do not feel I could ever go back into it as much as I would want to. I did always wonder how the filling of cups would take place, the contrast from this scene to the duet of mine and Glenford’s is incredible and will hopefully have an effect on the audience as it does on us when we are performing it. Even though it did not benefit me in any way, for some other characters it really helped them realise there characters journey, and even who there character is. For example it allowed Leanne and Sylwia to re-visit their relationship they had established in the girls and James scene, which may not have been created if it was not for the exercise.
Even though I stated that I do not feel the exercise benefited me in any way it did help me establish my isolation from the community, and gave me a sense of acceptance which relates to the emotion needed for my characters acceptance of not being a part of the community anymore at the end of Fractal. I was worried that if I had formed new relationships during the exploration exercise my characters journey may have regressed in some way and forming a new relationship may have been a hindrance as opposed to a way of moving on or a resolution.
The strategy used was extremely simple, yet effective when it came to tying up loose ends and creating interactions/relationships with many of the characters. As we were walking around creating new relationships and exploring new situations I felt extremely uncomfortable, it was as if I had been taken back four months to when I did not want to take part in dance theatre or even understand it as a genre. Having people look and try to interact with me was confusing and from my perspective forced. I wanted to question their own ability to see me, why did they want to, was it sympathy? Did they feel we had a connection? Or was it just because they could? This exercise had no benefit to my character as whatever interactions did take place would not have evolved or helped me to resolve a relationship, as I feel I have known my characters fate for a while. This does not mean my character is complete or I have by any means completed the process of her emotional development, just that the focus has shifted to getting the attention of Glenford as opposed to any other member of the community so there was no need for any other relationship to develop from this exercise.
There was no exploration for my character in this scene as I already knew the relationships I encountered and how it would all end. I found it hard to want to communicate with anybody else. My emotional journey is still far from over I just have a firm grip on who my character is and herself in relation to others. I am so far away from the community now I do not feel I could ever go back into it as much as I would want to. I did always wonder how the filling of cups would take place, the contrast from this scene to the duet of mine and Glenford’s is incredible and will hopefully have an effect on the audience as it does on us when we are performing it. Even though it did not benefit me in any way, for some other characters it really helped them realise there characters journey, and even who there character is. For example it allowed Leanne and Sylwia to re-visit their relationship they had established in the girls and James scene, which may not have been created if it was not for the exercise.
Even though I stated that I do not feel the exercise benefited me in any way it did help me establish my isolation from the community, and gave me a sense of acceptance which relates to the emotion needed for my characters acceptance of not being a part of the community anymore at the end of Fractal. I was worried that if I had formed new relationships during the exploration exercise my characters journey may have regressed in some way and forming a new relationship may have been a hindrance as opposed to a way of moving on or a resolution.
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