PPP + dynamism?

Description
These weeks we've been concentrated mainly in our one-act play... which will be presented in only 10 days (matameee)

As the PPP is one of the tasks we have to do for the IB, we are using our play to practice and learn how it must be done (while planning and making sure that every aspect is right for the play)

On the other hand, we keep practicing and creating, and this was an important week, as we finally thought about an ending for our play.


Analysis 

The Practical Performance Proposal, as it name mentions, is a proposal where you need to explain CLEARLY a play that you want to create.
It should be very detailed, and explain the reason for choosing every single aspect of your play. (include diagrams, not a few examples but 'everything')

One of the things that should be included is the play's aim. The purpose of this play is to entertain and amuse the audience as it is going to be presented in a school festival.
But, how can these aims be achieved?

The play needs to be DYNAMIC: including short texts, counterpoints wherever possible so that all characters participate all the time, a variety of ''eye-catching" characters in the same stage, and... Slapstick!

Charles Chaplin: known for creating laughter by using slapstick

We learnt that slapstick (a type of broad, physical comedy involving exaggerated, boisterous actions (e.g. a pie in the face), farce, violence and activities which may exceed the boundaries of common sense), is a great way to 'accomplish' laughter in the audience.
In my opinion, it is one of the funnier and best parts of the play, as the characters exagerate their actions, and the 'problem' they have will amuse the audience, making it funnier and more interesting thanks to the background music -> Magic Mamaliga
Another aspect that will help us create a dynamic play is the fact that it will develop around one central issue rather than around a 'whole world'. The central issue is the situation taking place around the whole body : Each character has a different aim and situation, but this corpse is their connection.

Some characters may have connections (nurso and nursa,
bad wife and her son, priest and good wife, etc) but all of them
are connected thanks to Mr. Mcrobbie's death.

...+ Connections

1. Music, choreographies or sequences of movement always help to create dynamism in a play. The choreography in "La Cocina" is a clear example. The rythm marked by the actors in unison and the organized chaos built up created sensations of stress and fatigue, but 'woke up' the audience,entertained and interested it. 

2. Other way of creating dynamism is breaking the fourth wall and refer the audience. In some parts of "Los Músicos Ambulantes", the characters talk to the audience and play with them. (The music and dancing present in the play are also key elements to create entertainment)

3. If according to Theatre historians slapstick has been present in theatre since its beginnings, it is clear that it is a technique that has always worked to amuse the audience.
"Beating the devil off stage, for example, remained a stock comedic device in many otherwise serious religious plays. Shakespeare also incorporated many chase scenes and beatings into his comedies, such as in his play The Comedy of Errors. "

4. According to Julio Cortazar, 'the short story wins by knock out'. Our play, like the short story, develops around one central issue, and this makes it more interesting.

5. Dynamism can also be created when actors walk near the audience, such as in "Miyuki y Los tres demonios "with the hanamichi, or the ghosts in "Shadow queendom", or Sandra's character in "Its all bussiness"

Reflection/ Final questions

As the creation of a play is a hard process, being specific and detailed (PPP) is very important in order to create something clear and that seems organized and well-planned (for example> cholour scheme in the costumes). 

You have to focus on the purpose of your play, and if it is a comedy, find all the ways possible to entertain the audience. Think about what you would like to see on stage.. what would make you laugh?
It should have well-elaborated jokes and situations. Watching and reading other plays may give you more ideas.


What other techniques could be included in our play to make it more dynamic? Does the use of music always help to catch the audience's attention? Will all types of audience enjoy black humour?

c h a r a c t e r i s a t i o n

"Becoming a character, as it is colloquially termed in theater, is more than stage make-up and reciting lines. It is the purposeful altercation of one mannerisms and appearance to mimic a very specific sort of person." 1

Description

one act play one act play one act play
only 17 days left, and so much to be done...

This was a "characterisation week". We did some fisical work (mainly based in rythm) which helped us to develop and 'deepen' our characters.

On the other hand, we continue practicing the scenes and editing ->(our director)
However... we don't know yet how's the play going to end


Analysis and Connections

"They say, "Don't judge a book by its cover." But that is exactly what an actor must count on. Because of mass media influences, certain physical attributes are linked with different behaviors." 1

As I always mention, the creation of a play (including it's vision, concept, game, characters, etc.) is not an easy process!
I've learned it is important to "go forward", and avoid changing things in the play that had already been decided or created.

The creation of a character isn't easy either, and as this play concentrates a lot in changes in characterisation to amuse the audience, we've done some exercises in order to know our centre of energy + how (and at what rythm) our characters walk, stand up, and breath.

Although I like my character, it has been hard for me to perform it, as many times I forget about being "sweet" and keep using a more "stereotyped personality". In order to solve this, I will start using Jessica Rabbit's voice as a stimuli. [Jessica's Famous Scene]

On the other hand, I think that my other character (the priest) needs to be further developed, and as I want it to be the opposite from the mean wife (to create a greater surprise in the audience), I decided that my stimuli will be the Chameleon.

"Any actor worth his salt should learn a variety of accents, voice types and voice patterns. Not all thirty-year old men have the same style of voice."  1

Finally, it is essential to know the importance of the internal monologue for characterisation:
"But these things cannot be accomplished without one more task: how does the character think? Understanding the noetic tendencies of a character is the key that unlocks the rest of his personality.Identify the cognitive processes of a character; the likes and dislikes, dreams and failures - what is rational and what is irrational. Create the person that should be represented." 1

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• In plays such as 'La cocina' and 'Más pequeños que el Guggenheim', we were able to see very different types of characters in one stage, and that was one of the things which mainly catched my attention and amused the audience.
  Different accents and personalities (such as Chiclayo and the "bad boy", or "el albino" and Sunday) demostrate that contrasts and good characterisation were essential, as it is going to be in our play.
  On the other hand, (depending on the play's concept) the scenery and design does not need to be extremely elaborated, because if characterisation is well-developed, the audience will concentrate on that and find it very enjoyable (like in 'Más pequeños que el Guggenheim').
• Our method and approach in characterisation reminded me of a class where we discussed about Stanislavski:
  "In Stanislavski's technique, the actor would perform a physical motion or a series of physical activities to create the desired emotional response for the character. Emotions were considered to be formed from the subconscious, so this technique allowed the actors to consciously target and control their subconscious emotions through movement. For instance, if an actor needed to weep, he could sigh and hold his head in his hands, a physical action that many who are crying instinctively do." 2

Reflections/ final question

*It is very important to mention what I've also learned this week:
when you are acting, you DON'T IGNORE what is happening on stage, in order to keep the energy. [It is essential to maintain a high energy]

*If you want a deep characterisation, you need to analyze and develop (psychologically and physically) your character. This isn't an easy process.

*in the creation of a play, lines (better if short) need to be acted and not said.

When do I know if my characterisation is "good enough" to start working on the next one? (in this case, from the wife to the priest)
Is there a better way to approach characterisation (for example, through animals, or cartoons), or does it depend on the case?

Which method works better for our characterisation -> developing our characters from the inside to the outside, or from the outside to the inside?

Quotes from:
1 "Method Acting: How to Become a Character" - by Andy Herrick
2 "Stanislavski's system" - from Wikipedia

Creating a play- Limits and changes

Description

It has been more than a month since I wrote my last entry, but very important things have happened.

1. We worked on the play's concept, 'textures' and colour scheme in class
2. 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. 

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 matter of dissection" - THE ORIGINS

dissect·
1. To cut apart or separate. -> GAME
2. to cut open and examine the structure of a dead animal ->PLOT
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Description

Paucartambo and One-Act play.
This week (on Tuesday and Thursday) we started staying after school to plan our one act play.

Although Roberto said that the first day wasn't successful, I think it was, as the stimuli (of a morgue) appeared, and we read two different plays ('Over the wall' and 'Us and them').

On Thursday, (although it wasn't easy) an idea for a possible game appeared, inspired by the concept of "gender bender" and "Two face".
We started exploring the possibilities and limits that the game can give us, and the possible characters for our story. 

In class, we've been studying how the four conditions for Theatre are applied in Paucartambo.


Analysis and Connections

So...What did I learn on Tuesday + Thursday?
As we already know, the creation of a play is a long process, and not at all an easy process, it takes a LOT of creativity, time, knowledge about theatre and different plays.
(From the two plays we read) I learnt that short sentences and dialogues work perfectly if you want to create an entertaining and dynamic scene. (I hope I can apply the technique of short dialogues and counter point when creating my scene for the One-act play).

*When creating a play, you need to create characters who "lack something", or are 'looking' for something.
*A game will always give you a lot of possibilities, but also a lot of limits (like the communication between different characters in our play).


As I mentioned in one of my past entries, the Activation Theory is a great contributor in the creation of a play, and we need to make sure that our One-act play has variation (dynamic scenes and varied characters), uncertainty (what happened to mr. Robertson/McRobbie? and what do they want from him?), novelty and complexity (innovative and complex GAME).


We need to create 'elaborated jokes' such as some in "Más Pequeños que el Guggengeim", and focus on characterization, as it will be the most important aspect in our One-Act play.

*In the play "Yerma- mujer que no se habita"- there were two male characters, represented by only one actor who changed (vaguely) parts of the costume and hairstyle. The characterization of both characters was so different, that you could easily and clearly differentiate them.
This is what we need to achieve. A clear and easy differentiation of the two characters that each actor is going to represent.





Now that we have a game and a plot, what 'steps' should we take to create a successful and comic play?

What exercises can we find to reach great characterization?

Are the steps for creating a play, script, or character always the same?


How is the varied characterization reached in Paucartambo? and which could be a good research topic about this tradition?

Conditions for Theatre + A new experience

 A question that has appeared in my mind several times is… what can be considered Theatre?  Or, How do I know that a presentation is a “theatrical play/piece”? (obra de teatro)

On Tuesday I learnt the four “CONDITIONS FOR THEATRE”, which are:

1.   Involvement of the body to represent another person in a certain time and place trough performance.

2. Order, composition and game.

3.  A content, something to say 

4. A social and ritual function

And on Thursday we had the opportunity to watch “La consagración de la primavera”, presented by the “Ballet de Londrina” from Brasil.

There, I had the opportunity to think about the four conditions for theatre and comparing the dancing spectacle with what would be a theatrical play.

Should this presentation be considered a play?

There was an involvement of the dancers’ bodies to represent other characters, a content or something to say about a virgin’s sacrifice, and maybe the social function of showing this idea and the concept of its unfairness.

However, there was not an exact or clear composition of the story/plot and characterization, as it was not focused in telling a story, but in delighting the audience with the dancers’ abilities and skills.

This idea can be connected to Opera, as the Opera spectators do not assist to see the plot, but to hear the music. For a very similar reason (as we were discussing in class), ballet performances usually represent “the same” or traditional stories (such as the Swan lake or The Nutcracker), as the stories entertain the audience and make the presentations more ‘dynamic’, but are not the “focus point”.

So… This was a DIFFERENT EXPERIENCE to the experiences that all the plays have given us. We were expected and able to appreciate the dance moves and tremendous bodywork.

*In Western Theatre, we usually go to concentrate on a plot or story, which should entertain us.

For example, in plays such as "Más pequeños que el Guggenheim", "Los músicos ambulantes", and even "Shadow Queendom", the audience is interested in the STORY that is being told, and wants to know how it will develop and end.

However, comparing this new experience to the Kabuki tradition, the audience goes to appreciate the ACTOR (in this case the dancer's skills), and not the plot.

In just 13 days we will be travelling to Paucartambo, and I ask myself.. how are the 4 conditions of Theatre applied there?

Should the audience be more concentrated in the dancing, music and atmosphere created rather than in a specific story or plot?

What is the most important aspect in the celebration of "Mamacha Carmen"? The acting? the irony in the masks, costumes and representations about past characters and events? the 'story' of Qollarri's daughter being captured by Inkarri??

What kind of experience do the "Paucartambinos" want to give to their audience?

In musicals (such as Hairspray), should the audience be concentrated mainly in the story or in the singing? 


Are the performers in Paucartambo actors or dancers? and if they are dancers, why should it be considered theatre?

LONG LIVE MATHILDA - school play: check ✔

A very important entry, a VERY important week:


This was the final week of a LONG and exhausting process: creating the school play "Shadow Queendom".


The process started the first week of school, when we began to explore the ideas of puppets and masks, and gave different words for our vision of the play.
Then, an innovative GAME for the play appeared, and the ideas for the puppets, masks and different scenes began to flourish.
However... the process wasn't at all as easy as it sounds.

one of the first steps: a workshop about
puppets, which gave us our first ideas
for the "puppet making".

We spent MONTHS thinking about the types of puppets that we could use, and then, spent even moooore time MAKING all of them.

I learnt that PLANNING is always the best way to achieve a goal.

* So, what did I learn from this? *
the creation of a play is never an easy process. It takes a lot of TIME, deep THINKING, and cooperation (which many times we lacked).
We need to create and follow our PLANS, and stop just giving ideas without 'doing something' about them.
I also need to make more use of my IMAGINATION, and 'take more chances' without being afraid of making mistakes (for example, when I had to make the masks - I think I could have explored more, and give better results)
However, I also learnt that theatre is 'collective' (team work), as I ended up organizing and deciding many aspects from the costumes with Mr. Cajas, and making (doing what I could with my lack of ability in plastic arts) puppets.




After almost four months working on the play, it turned out much better than all of us expected.


*What made the play work + made the audience like it? *


This was a play that surprised the audience VISUALLY, by the use of techniques that had never been seen in a school play.
It was a completely new and interesting EXPERIENCE for the "Newton college audience".


When we hear the word "puppet" we often think about a hand puppet or a marionette, but the use of puppets such as the tax collectors and the 'big royals' created a great impact on the audience.


*The play worked due to the application of the "ACTIVATION THEORY":
-variation
each scene was different from the other, and there were many different techniques used, from slow motion to the use of puppets, masks, shadows and stilts.
-uncertainty 
The audience didn't expect a twist in the ending of the play, and there was always an uncertainty in the plot.
-novelty  
The use of completely NEW and innovative things for the audience: giant puppets, hand puppets moving on stage, shadow puppets, masks in a school play, etc.
-complexity
A game that made the play harder to understand + different actors representing the same character = a more interesting and complex play.






Creating this play widened incredibly my point of view and ideas about puppets and masks. As Martin once told us "There is a whole universe of puppets"; and presenting these new theatrical techniques to the school's audience ended up creating a successful performance.
It wasn't easy at all, but after all the "ups and downs" we feel proud of the final results.
However (I don't want to be negative but..) many things could still be improved, such as the acting (vocalization, characterization, etc), the masks (exploring more possibilities), the way of telling the story (maybe including a narrator as Roberto mentioned), maybe improving some things from the scenery or puppets... and this takes me to the question:


Does the process of creating a play never really end?  


other questions...
Is the Activation Theory always helpful and successful when creating a play?
I think it is, and that we should follow these "steps" when creating the One Act Play.


Would the play have been as successful without such a creative GAME?


Does the audience pay more attention (concentrates) when the actors talk directly to the public?


Is it 'easier' for actors to act when they are wearing a mask? / Do they feel more confident?
-Artaud said that theatre reveals, and lets you put on a mask to bring the "real you".
"Man is least himself when he talks in his own person. Give him a mask, and he will tell you the truth."Oscar Wilde

3...2...1...SHADOW QUEENDOM!!

1. Description

This week we were focused in two main aspects: Paucartambo, and mainly, THE SCHOOL PLAY, which will be presented for the first time in ONLY 4 DAYS!! -on my birthday ;)

On Wednesday 13th we continued talking about 'La fiesta de la virgen del Carmen', and the structure of the celebration's first day.
On thursday, friday and saturday, we were concentrated in Shadow Queendom, rehearsing and starting to finish our production tasks.

2. Analysis

[Paucartambo]
We are learning that the celebration in Paucartambo has an specific structure, which starts with: 'la entrada', Sera apaykuy (prosetion from municipality to church), 'Qonoy' (beginning of celebration: light show, qoyas saqras and Maqt'as) and Alba (dance in suits).
This structure is very important and needs to be followed as this is a cultural tradition, which has taken place for years.
The different events of the first day may represent the entrance of the different cultures and people from different places into the town (e.g. the Qhapac Qollas from 'Meseta del Qollao'), the virgin's importance and worship, and the mixture of this religious tradition with the Andean culture and past events.


*Actors train all their lives to do this, and we learnt that you need to be considered a 'Paucartambinista' to act or be part of the 'comparsas'.


[SHADOW QUEENDOM]
This week we will finally harvest what we've being sowing.
The LONG process will finally end, and the results of our work will be showed.
-The majority of the scenes are improving, and specially the scene changes too.


My first scene (scene 2) seems to be getting better, and I am sure that we will try to do our best this week to improve it even more, but a problem that appeared this week for me was my displacement using the long skirt (costume). We only rehearsed the scene once, but it made me see what I can and what I can't do using the costume, and one of my goals for tomorrow is finding ways of making it work.
My other 'mission' is to finish COMPLETELY the production of masks, leaving them ready for the play.

3. Connections

Training has not been a part of acting in most of the Western World, and there are MANY approaches to what is acting.
For example, we learnt that in some parts of Asia dancing, Acrobatics, Circus, etc. can be considered acting.'
Or, for example, in Kabuki, acting was focused more in the quality of the actors rather than in the actions taking place, and as well as in Paucartambo, traditionally only MEN would dance.
In Medieval theatre for example, specific actor training did not exist, and it was developed later by Stanislavski*.

4. Reflections


"La fiesta de la virgen del Carmen" is a theatre TRADITION which has been respected and kept during years. Its specific structure has a meaning, and shows the great importance of this celebration for the town and its culture.


--
Working and rehearsing with the costume is extremely important in order to see your LIMITS and possibilities in a scene.
(Not only costumes, but props, masks, hair "styles", etc.)
You should ALWAYS rehearse with the items which will be used on stage.
That is why it is necessary to have the props, costumes, masks, etc. on time.


Both of this topics made me ask myself the following questions...


*Why do actors in Paucartambo train ALL their lives for this celebration?
*Do they give greater importance to the virgin's worship or to the culture and tradition involved in it?


*What is the meaning of the structure?


*Which problems with the costume could be presented in my scenes, and how can I solve them? (I will really think about this)




As I said before... we will finally harvest what we've being sowing.
4....3....2....1.... (matamee) SHADOW QUEENDOM