Description
It has been more than a month since I wrote my last entry, but very important things have happened.
- We worked on the play's concept, 'textures' and colour scheme in class
- I wasn't able to be present on the first One act play rehearsal, but on the second one (Thursday 9th), we started to see something was wrong.... The game we had imagined had an "extreme makeover".
I think we are finally learning the difficulties of creating a play...
Analysis and Connections
We've always been told that a play cannot be created by "sitting down", but by standing up, improvizing and trying.
It was very hard to find an interesting game for our One Act Play, and when the idea of the "halves" or "two-face" appeared it sounded like a brilliant one!
However, when we started to rehearse for the first time... something was going wrong from the beginning.
I remember I told one of my partners that maybe we were always taught to act in "3/4" because acting side face doesn't really work in theatre.
Does it? maybe for another play or acting space, but it was impossible for us to perform different actions, and the play was becoming static and borring. Characters could not move from one place to another, and couldn't really interact between them.
Imagine any play (Más pequeños que el Guggengeim, La Cocina, Interruptor) but with characters who have those "limits". I tried, but I can´t. In all the plays we've watched characters CONNECT with each other, and their faces can face any direction.
The idea of the "magic door" seems like a good one for me, as it gives us much more possibilities, and is very interesting in terms of characterization. Not only the costume creates the character, but mainly the voice, the body expression, personality, mannerisms, etc.
This extreme sudden change will create the "rechicken effect" in the audience, as hopefully, thanks to the change in characterizations, they will feel amused and very surprised.
It was very hard to find an interesting game for our One Act Play, and when the idea of the "halves" or "two-face" appeared it sounded like a brilliant one!
However, when we started to rehearse for the first time... something was going wrong from the beginning.
I remember I told one of my partners that maybe we were always taught to act in "3/4" because acting side face doesn't really work in theatre.
Does it? maybe for another play or acting space, but it was impossible for us to perform different actions, and the play was becoming static and borring. Characters could not move from one place to another, and couldn't really interact between them.
Imagine any play (Más pequeños que el Guggengeim, La Cocina, Interruptor) but with characters who have those "limits". I tried, but I can´t. In all the plays we've watched characters CONNECT with each other, and their faces can face any direction.
The idea of the "magic door" seems like a good one for me, as it gives us much more possibilities, and is very interesting in terms of characterization. Not only the costume creates the character, but mainly the voice, the body expression, personality, mannerisms, etc.
This extreme sudden change will create the "rechicken effect" in the audience, as hopefully, thanks to the change in characterizations, they will feel amused and very surprised.
Reflection/ Final Questions
A play's game can be a very "high obstacle", and practice + trying is essential in theatre. We need to see if things work, and if they don't, they need to be changed then.
Other very important aspect is that interaction and connection between the characters in a play is extremely important. Otherwise, the audience will not connect with them, and it may become uninteresting.
Finally, a play needs to be full of ACTIONS (things that happen) and not unuseful text [that's why creating a script was also extremely hard for me].
If your game doesn't let you perform different actions and movements, then consider changing or improving it.
In what kind of play or acting space would the "two-face" game work?
Is the game of a play ALWAYS a limit?
A play's game can be a very "high obstacle", and practice + trying is essential in theatre. We need to see if things work, and if they don't, they need to be changed then.
Other very important aspect is that interaction and connection between the characters in a play is extremely important. Otherwise, the audience will not connect with them, and it may become uninteresting.
Finally, a play needs to be full of ACTIONS (things that happen) and not unuseful text [that's why creating a script was also extremely hard for me].
If your game doesn't let you perform different actions and movements, then consider changing or improving it.
In what kind of play or acting space would the "two-face" game work?
Is the game of a play ALWAYS a limit?
Every game has rules, and rules pose limits. You must see those limits as an advantage that allows you to move the play forward, rather than as a disadvantage.
ResponderEliminarA good entry, though you have to separate the sections of analysis and connections, because joining them has rendered quite poor connections.
Roberto