CLASSICAL EXPERIMENTATION

CLASSICAL EXPERIMENT

SAREA WYNTER - UNIT 9

Summary

This is a portfolio about Unit 9 - Classical Experiment Project and how we developed Shakespeare's 'Pericles' into our version

Index

1. LOGBOOKS

2. SUMMARY

3. SUMMER WORK

4. PRACTITIONERS

5. PERICLES

6. THEMES

7. CHOREOGRAPHER

8. EVALUATION

SECTION ONE: LOGBOOKS & RESEARCH

How I developed my character

MONDAY: LOGBOOKS

On Monday the 9th, we started our first lesson for the 'Classical Experiment' project. We started by reviewing the summer assignments and how they tie into theatre, then discussed about what really makes theatre feel theatrical. We talked about the energy of the audience, the atmosphere in the room, the technical side of putting on a show, and the whole theatre-making process. It’s all about creating an immersive experience, like what Punchdrunk does by letting the audience step into the action. We then started to talk about non-naturalistic theatre, which is all about breaking away from realism and the usual norms. We also explored how to incorporate different cultures into theatre, finding unique ways to blend various cultural elements into a production. We touched on Anne Bogart's Viewpoints, and one quote that stood out was, "Acting from the inside is more psychological but acting from the outside is more physical." To me, this suggests that when actors connect from the "inside," they resonate more emotionally with the audience, tapping into deeper feelings. On the other hand, acting from the "outside" focuses on how a character physically presents themselves—like their walk or the way they talk.

MONDAY: LOGBOOKS

We also explored different traditional cultures that can be portrayed in theatre, like African dance. This ties into the theme of rituals and how they reflect specific beliefs within a culture. Theatre stems from different traditions worldwide, such as myths, rituals, storytelling, imagination, and fantasy. During this lesson, I realized how much cultures contribute to the diversity and uniqueness of theatre. It's inspiring how people can create an entire production based on a belief or inspiration, which is what I think makes theatre unique and fresh. Then we started to discuss Anne Bogart's 'Viewpoints' technique, which encourages actors to step out of their comfort zones and embrace spontaneity. What I took away from this technique is to try everything and not feel embarrassed about exploring new creative ideas. Acting should be enjoyable, not overly serious, which is a common misconception. It's all about telling stories and expressing a range of emotions, so if acting is always serious, it takes away from the joy that comes with it. From this lesson, I learned that to be an actor means to not only try new things but to not stick to the traditional way of becoming a character. This could mean planning out what to do, and what to say and then performing it without trying other ideas or ways to make the piece more interesting and creative. Improvisation is always a good way to see what works and what doesn't because it helps with imagination and to express one's creative freedom.

TUESDAY: LOGBOOKS

On Tuesday 10th,we had a lesson with Karl Jackson who is a professional actor and writer in the performance industry. For the first half of the lesson, we talked about vulnerability and finding our true authentic self within acting. To be an actor means to be vulnerable and to be in situations that are uncomfortable but finding ways to become comfortable in the uncomfortable can help with finding who we are as actors. He then asked us why we chose acting to study. The first time I had been on stage was in primary when we performed 'Bugsy Malone' as our school production. It was such a fun and exciting experience to be a part of and I grew love for performing. Since that moment, I auditioned for the school productions that my school did and continued to when I reached secondary school. Even though dance is my main priority, acting has been a way for me to become more comfortable with myself just because of the characters that I've played. It made me realize how certain people think and how I can find ways to portray that whilst also staying true to myself. After that session, we started to work a bit on our play, Pericles. Karl asked us to pick a line from the script and one-by-one we would say it, but not perform it. He wanted us to connect with ourselves instead of trying to connect with a character and then performing, which is what we're comfortable doing. He wanted us to break from that mindset and to say the line naturally without performing.

TUESDAY: LOGBOOKS

After that lesson, we started working on 'Little Shop Of Horrors.' We learned the song and then got assigned parts to sing—either solo, in duos, or trios—and started layering in harmonies once we had the song down. It was such a fun experience because musical theatre means a lot to me, and singing and dancing with others is what I love to do. Even though it wasn't for everyone, they all gave it a go, which is what Anne Bogart's method is all about—stepping out of your comfort zone to discover new sides of yourself. It's a fantastic way to uncover new passions and dive deeper into them. From this lesson, I picked up on acting through song to convey meaning with movement. I also focused on developing my vocal expression and range, which is something I want to improve on. Additionally, I learned about breath control and projection, which has been a challenge for me. It’s all about projecting without shouting, using vocal energy, and breathing from the diaphragm to support our voices. Lastly, I learned to harmonize; even though I’ve had some training, I learned how to stick to my harmonies without drifting off.

LYRICS SHEET

THURSDAY: LOGBOOKS

On Thursday, the 12th, we started our dance lesson with a warm-up session before we started to learn a choreography that our teacher found on YouTube, for the song "Little Shop of Horrors." Throughout the lesson, we focused on learning the dance, working in smaller groups to help those who needed support, and revisiting the choreography. The dance was relatively easy to learn and enjoyable, as everyone participated enthusiastically. After dance, we had our next lesson, which was focused on what we wanted to do after college. We discussed our aspirations and explored the requirements for auditions, noting that directors typically seek a contemporary monologue, a Shakespearean piece, and a song. We then participated in exercises designed to simulate the audition experience and understand what directors prioritize. One person observed and took notes while we performed warm-up exercises. After that, we received constructive feedback, which was largely positive; however, the primary area for improvement was maintaining focus without becoming overly serious. While it is important to be attentive and prepared, it is equally essential to express personality and enjoy the process, a concept that ties back to our Monday lesson on spontaneity. Finally, we began working on our Shakespearean monologues, for which we were expected to research over the summer. This exercise aimed to prepare for the audition environment and guide us for future opportunities.

MONDAY: LOGBOOKS

On Monday, the 16th, we engaged in an exercise that further explored the concept of spontaneity in performance. The activity involved forming a circle, where one person would go into the circle and strike a pose. Another person would follow, creating a pose that connected to the one in the center. This exercise aimed to enhance our ability to think quickly and to embrace the feeling of being playful in our actions. Our teacher started to play music to influence the rhythm and nature of our poses; when the music played at a faster tempo, our responses needed to be more immediate and alert, while slower, calmer music encouraged us to enter the circle and pose dramatically in to match the mood. These exercises are designed to improve spontaneity in actors, allowing them to focus less on what comes next. I found this exercise particularly enjoyable due to the high level of engagement from everyone and the exhilarating energy it generated. Another activity involved showing emotions and expressions through still images. We would freeze as a group presenting a specific emotion until prompted by our teacher to change positions. One of the tasks required us to show the emotion of being 'lost,' which then evolved into a portrayal of someone who, despite feeling lost, held onto a sense of hope. We were challenged to create a simple movement that showed this hope without planning. This lesson was vibrant and full of energy, making the session both dynamic and enjoyable.

TUESDAY: LOGBOOKS

On Tuesday the 17th, we had our audition for Pericles. We had to learn a monologue and either sing a song or create a movement piece. We started off the day with vocal warm-ups and then practiced for our auditions. The audition order was by registration, so I ended up going last. When it was finally my turn, I felt a bit nervous since I'm not really used to singing solo in front of others, but as I got into it, I started to feel more at ease. I performed 'Journey To The Past' from Anastasia, and afterward, I was asked what the class could expect from me and what I expected from them. I said I expected support, and in return, I would offer patience. I see myself as a patient person who’s always ready to help my classmates if they need it. The whole audition experience was pretty daunting, but I realized that while singing in front of an audience is tough, it does get easier to manage the nerves over time. While preparing for my audition monologue, I learned it by memorizing a few lines at a time. I’d practice in front of the mirror, trying different facial expressions to see what felt right and what looked natural. I kept at it until I could recite the entire monologue without looking at the script. Sadly, monologues have always been a struggle for me since I don't like performing them. Each time I have to do one, it feels as if it gets tougher. I find them challenging because they put you in such a vulnerable situation, but that’s what makes an actor truly strong and convincing—being willing to step into those uncomfortable moments and give it a shot.

THURSDAY: LOGBOOKS

On Thursday the 19th, we had our dance assessment for 'Little Shop Of Horrors'. We started off with a warm-up to avoid any injuries, then began rehearsing the dance, making a few changes to ensure everyone was clear on their parts. I wasn't feeling anxious about the assessment at all because dance has always been a calming space for me. There have been moments of stress, but I never worried about messing up, which helped me stay relaxed when it was time for the assessment. We recorded the performance and did the dance twice while singing, which is something I've really wanted to improve on—being able to sing and dance simultaneously without losing my pitch.

MONDAY: LOGBOOKS

On Monday the 23rd, we read into the 1st, 2nd, and 3rd acts of Pericles. We gathered around a table and worked through a worksheet with questions about the play while we read. My initial take on it was that it was intriguing, especially with all the different storylines in it. It felt chaotic, considering how fast Pericles' life flipped upside down. I think that might be because he was royalty and had this belief that nothing bad could touch him. From what I gathered, Pericles started off as arrogant, thinking he was destined for greatness and that his life was all planned out. He figured that with his wealth, power, and royal status, he could live through life without any issues, almost like he was a divine figure. But as things took a turn for the worse, he began to question the gods about why his fate was going south.

TUESDAY: LOGBOOKS

On Tuesday the 24th, we explored a technique that improves an actor's spontaneity during performances. The 'yes and' method is all about improvisation, helping actors break free from the fear of looking silly. It’s about being comfortable in the uncomfortable moments and expressing yourself without holding back. This technique promotes a safe environment, allowing everyone to collaborate in a safe space where creativity can flow freely. It strengthens the bond between actors when there's mutual support and trust. After diving into that, we split into groups to work on different acts. My group worked on Act 3, where we read through the script, made necessary edits, added songs or movements that fit, and brainstormed how to incorporate props and still images to enhance the scene. Then, we moved on to our next class, where we got physical with our ideas, figuring out what worked and what didn’t.

TUESDAY: LOGBOOKS - PICTURES

THURSDAY: LOGBOOKS

On Thursday the 26th, we started off our movement pieces for the acts we were working on. We started with a warm-up, just like always, and then began working on our pieces. It was just me and one other classmate in our group, so we brainstormed some movement ideas together. Since I'm one of the choreographers for this project, I also helped other groups with their choreography. For Act 3, where Thaisa gets thrown off the ship in a casket filled with spices and money, we thought a simple movement piece would be a nice way for the crew to say goodbye to her. We chose 'Sail on, boys' by Operation Mincemeat as our song, and we planned to sing along while we moved. The scene where Thaisa is resurrected, I thought it would be a great scene for a movement piece to representthe resurrection. The style was ballet/contemporary and I craeted a motif to represent how Thaisa will be brought back to life. The on-going motif of raising the right hand from the ground up in the air shows how life is being brought back into her. I thought this would be a good idea to always represnt how this scene seems quite cult-like in the way its represented. Overall, this rehearsal was successful as we came up with two movement pieces that can be used for these scenes and that would then be later developed. This lesson was helpful as it showed how independet I can be when not everyone in my team arrives to lesson and how sometimes you have to improvise and be spontatenous with how you use your time. Not depending on others to get work done but also keeping a good mindset even when your team doesn't show up.

TUESDAY: LOGBOOKS

On Tuesday the 1st, we had a lesson with Karl Jackson where we dove into the meaning of Pericles and explored the deeper layers of the story. We discussed how the plot differs from the story itself, which can sometimes be hard to distinguish. Some of the questions that came up included, "What happens in the play? What happens to the character?" These questions really helped us grasp what we know about Pericles. Understanding the story involves knowing its beginning, how conflicts are resolved, and how it concludes. However, grasping the character's goals is even more crucial because it reveals their intentions and adds depth to their journey. The main storyline follows Pericles as he leaves his home, survives a shipwreck, finds a kingdom, and marries a princess after winning a contest. He faces the tragic loss of both his child and wife, returns home, but then sets off again. After 15 years, he reunites with his family. Understanding the reasons behind a character's actions really shapes the narrative. Pericles starts as a self-centered prince who thinks nothing bad can happen to him, but by the end, he transforms into a humble man with a family. His character development through various challenges illustrates that life is tough, regardless of your status. Life isn’t meant to be easy or fair; we encounter challenges and struggles for a reason, to learn from our mistakes and experiences. Staying humble and kind, even when others overlook you, reflects your true character. The play of Pericles really highlights how the challenges we face can shift our outlook on life. As we delved into the narrative, it became clear that understanding the reasons behind a character's actions is pivotal in shaping the overall narrative. This reflection on character and resilience underscores the idea that true strength comes from within.

Thursday: LOGBOOKS

On Thursday the 3rd, our focus was on a pivotal scene in our production where Pericles and Thaisa share a dance, a moment that beautifully presents their love and connection. To enhance this scene, we selected the enchanting piece "Once Upon A December" from the musical Anastasia as our music. The choice of a waltz as the dance style was intentional, as it adds a sense of elegance and romance that perfectly complements the narrative. Since another group had previously explored this scene during our small group sessions, we decided to build upon their ideas while adding our own creativity to elevate the performance. My classmate, who portrays Pericles, and I began our choreography by walking to the center of the stage, where we formed a box shape to initiate our waltz. This box formation not only provided a clear structure for our movements but also made it easier for us to remember the waltz steps. Once we felt comfortable with the basic pattern, we gradually incorporated more dynamic elements, such as turns and fluid movements, allowing us to express the emotions of the scene more fully. As the music increases and the beat drops, the rest of the class joins in, transforming the space into a vibrant ballroom atmosphere. The haunting yet captivating instrumental of the song ties our movements together, creating a seamless flow that enhances the storytelling. This scene is not just about the dance; it’s a visual representation of the deep love shared between Pericles and Thaisa. As they gaze into each other's eyes, the intimacy and connection between the characters become reality, drawing the audience into their world. Towards the end of the song, as the tempo slows, Pericles leads Thaisa forward, and I will sing the line, "And a song, someone sings. Once upon a December." This moment is crucial, as it is when my partner and I will lock eyes, embodying the essence of Thaisa and Pericles. It’s a powerful portrayal of the emotions we’ve been building throughout the dance, and we want to ensure that it resonates with the audience.

REHEARSAL EVALUATION: EBI

The rehearsal process has been both challenging and enjoyable. This came from issues with punctuality and attendance, which became particularly frustrating as the performance date approached. The necessity for costume runs and rehearsals in the theatre highlighted these challenges. For example, late arrivals or absences required some people to step in for their peers, complicating the process. After the performance, we had an evaluation of "Pericles," identifying both strengths and areas for improvement, with time management emerging as a key concern that we collectively recognised needed improvement to have a smoother rehearsal experience. During the technical run, we encountered several difficulties related to props and costumes, which we also identified as critical areas for improvement ahead of our next production. The misplacement of props and the disorganisation of costumes resulted in significant time loss as we searched for missing items, further complicating our rehearsal. It is evident that improving our time management and organisational skills should be our primary focus for future performances to decrease stress and anxiety. To improve organisation, it is essential to maintain a designated area for props and ensure they are properly labeled, which we had implemented; however, the challenge lies in consistently returning items to their designated locations after use. This practice would solve concerns regarding misplaced items and contribute to a more simpler production. Similarly, while we labeled costumes, it is crucial to ensure they are stored in a specific area assigned to each individual. Addressing these two primary issues will be vital for our next show.

REHEARSAL EVALUATION: WWW

Despite facing some challenges with certain classmates, the rehearsals proved to be quite enjoyable. This enjoyment came from the musical elements we incorporated into the production, which helped bring the play together as a whole and create a sense of unity among us. When everyone participated, our collaborative efforts were evident, particularly in our connection to both our characters and the overall narrative, which was especially highlighted during the musical numbers. Although the songs required further improvement, as we approached the performance date, each individual demonstrated significant improvement and gained confidence in their vocal abilities, which was great to see. It was also encouraging to observe everyone embracing this innovative approach to acting, characterised by experimental theatre. This project significantly helped my confidence in singing in front of an audience and enhanced my vocal projection, an area I had previously struggled with. Additionally, I gained more of an understanding regarding what I wanted to do after college, leaning towards a career in musical theatre. The experience also encouraged me to embrace vulnerability, as we were required to expose ourselves emotionally to connect with our characters. Engaging with vulnerability allowed me to better understand Thaisa as a character, particularly in Act 3, where her own vulnerability is clearly illustrated. After the loss of her family, she chooses to become a nun, seeking a life of chastity, which leads in the musical number "Journey To The Past." This song captures themes of hope and family, resonating with Thaisa's situation, especially in the lyrics, "Hope, love, family, there was once a time I must've had them too." This line reflects her belief that her family may still exist somewhere, despite her uncertainty about their fate. Ultimately, the song encapsulates a moment of hope intertwined with loss.

SUMMARY OF PERICLES

Pericles, the Prince of Tyre, escapes from Antioch and heads back to Tyre because he discovers that Antiochus, the King of Antioch, is having an incestuous relationship with his own daughter. Antiochus is hell-bent on killing him and chases after him. Pericles makes another escape, first to Tyre and then to Pentopolis. He leaves Tyre under the watch of his advisor, Helicanus. Unfortunately, during his journey, his ship gets wrecked, and Pericles is the sole survivor. Once in Pentopolis, Pericles competes in a tournament and wins the hand of Thaisa, the stunning daughter of Simonides. They fall in love and get married. Shortly after, news comes that Antiochus has died, and the people of Tyre want their prince back. Thaisa is pregnant, and while heading to Tyre, a storm at sea leads to the birth of their child, whom Pericles names Marina. Tragically, Thaisa seems to die during childbirth. Heartbroken, Pericles places her in a waterproof coffin and buries her at sea. The coffin eventually washes ashore in Ephesus, where Cerimon revives Thaisa. Mistakenly thinking Pericles is lost forever, she dedicates herself to the Temple of Diana as a nun. Meanwhile, Pericles visits Tarsus and leaves Marina in the care of Cleon, the governor, and his wife, Dionyza, who promise to raise her. Fast forward sixteen years, and Marina has grown into a beautiful young woman. However, Dionyza becomes envious and plots to have her killed. She tells a servant to take Marina out on a ship and murder her, but before he can carry out the order, pirates capture Marina. The servant returns to Dionyza, claiming he has killed her, and Cleon builds a monument in her honor.

SUMMARY OF PERICLES

When Pericles shows up in Tarsus, he spots a monument and gets hit hard with sadness. Meanwhile, the pirates have sold Marina to a brothel in Mitylene, but she’s quickly rescued by the governor, Lysimachus. Pericles makes his way to Mitylene and runs into her, talking away without realizing who she is at first. But soon enough, he figures it out, and they have a heartwarming reunion. Lysimachus then asks Marina to marry him, and she says yes. After that, Pericles has a dream telling him to head to Ephesus, so he takes Marina along. Once they get there, they find Thaisa, who’s now the head priestess of Diana, and the whole family is joyfully back together.

SUMMER WORK

SUMMER WORK: PRACTITIONER RESEARCH- PINA BAUSCH - ROBERT WILSON - TADASHI SUZUKI

WILLIAM SHAKESPEARE

ANNE BOGART

Anne Bogart is a well-known American theatre director and playwright celebrated for her fresh take on acting and directing. She is one of the creators of the Viewpoints technique, which highlights the role of physical movement and teamwork in performances. Her work has had a major impact on modern theatre, especially in how actors engage with one another and their surroundings. The Viewpoints technique focuses on the significance of physicality and awareness of space during performances. Motivating actors to delve into movement and their connections with each other and their environment, creates a more vibrant interaction among performers. This method helps actors cultivate a stronger sense of presence, making their interactions feel more genuine and responsive. Bogart's influence has greatly transformed contemporary theatre by introducing newfound techniques that emphasize collaboration among performers. Her dedication to ensemble work through the Viewpoints technique has led to a shift towards more interactive and responsive performances. Bogart's impact is evident in how modern theatre companies approach rehearsals and shows, promoting creativity and enhancing relationships among actors. Her legacy continues to motivate new generations of theatre artists to push the limits of performance art.

SUZUKI AND BOGART

The Suzuki Method is all about an actor's physical presence through intense training that focuses on posture, breath control, and voice projection. These elements work together with Anne Bogart's techniques, allowing actors to engage in physical expression which links to the Viewpoints technique. Together, these methods enhance an actor's clarity and intention in performance while promoting teamwork. SITI Company was established in 1992 by Tadashi Suzuki, Anne Bogart, and a group of artists who wanted to create new life into contemporary theater in the U.S. through cultural exchange, new creations, and training for theater artists. Initially called the Saratoga International Theater Institute (SITI) in Saratoga Springs, NY, it quickly made a name for itself in New York City, expanding to offer a full season of new works, tours, and training programs aimed at nurturing the next generation of independent theater talent. The company has gained national and international recognition as a leading artistic ensemble known for producing innovative theater. Over the years, these artists have created nearly 50 theatrical pieces that highlight the storytelling abilities of performers and the collective vision of the ensemble. They've explored narratives from ancient Greece to modern America and delved into the creative drives of various artists, including Virginia Woolf and Robert Rauschenberg. Their work spans a wide range of disciplines, including opera, dance, visual arts, and musical theater, and they've redefined collaboration by partnering with groups like the Martha Graham Dance Company, Bill T Jones/Arnie Zane Dance Company, Ann Hamilton, Julia Wolfe and the Bang on a Can All-Stars, and Elizabeth Streb’s Extreme Action.

KEYWORDS

Viewpoints: A movement-based technique that explores the relationship between performers and their environment, focusing on spatial awareness, tempo, and duration. Suzuki Method: A training method for actors that emphasizes physical movement and vocal training, developed by Japanese director Tadashi Suzuki and often used alongside Bogart's techniques. Ensemble Theatre: A form of theatre where a group of actors works collaboratively, often blurring the lines between individual roles and fostering a collective creative process.

WHAT ARE THE VIEWPOINTS?

PHYSICAL VIEWPOINTS: Spatial Relationship: The distance between things (objects, bodies, etc.) onstage. Kinesthetic Response: How performers respond to movement from other people, objects, or design elements. Shape: The outline of a body in space. Gesture: A behavioral or expressive shape that has a beginning, middle, and end. Repetition: When performers recreate something they have done or seen. Architecture: A performer’s physical environment. Tempo: How fast or slow something happens onstage. Duration: How long a movement lasts. Topography: The onstage pattern or design a movement creates. VOCAL VIEWPOINTS: Pitch: The highness or lowness of a sound. Dynamic: The loudness or softness of a sound. Acceleration/Deceleration: Speeding up or slowing down a sound. Silence: The absence of sound. Timbre: The texture or quality of a sound, distinct from its volume or pitch.

INTERVIEW: ANNE BOGART

VIEWPOINTS BOOK

In The Viewpoints Book, which debuted in the U.S., renowned theater directors Anne Bogart and Tina Landau dive into the background, terms, and philosophy behind Viewpoints. They provide a detailed guide on how to use it as a training method and rehearsal strategy. Viewpoints is an improvisation technique that emerged from the post-modern dance scene, helping actors to become spontaneous and intuitive. Choreographer Mary Overlie first set the work for this concept, and Bogart and Landau have since built on her ideas, using them for actors. Over the past two decades, Viewpoints has inspired a wide range of theater professionals, including actors, directors, designers, choreographers, and writers. It's now taught globally and embraced by many theater creators during rehearsals to enhance movement flexibility, articulation, strength, and overall ensemble performance.

EXPERIMENTAL THEATRE

Anne Bogart focuses on the physical aspects of theater, encouraging audiences to connect on a sensory level rather than just through dialogue. By emphasizing movement and the physicality of the actors, she crafts experiences that create emotions and deepen the audience's connection to the themes presented. This approach not only expands the way stories are told in theater but also prompts viewers to rethink their ideas about what dramatic expression can be. Through her work with SITI Company, Bogart provides a collaborative space where artists from diverse backgrounds unite to create fresh performances. This teamwork uses experimentation with different forms, content, and styles, leading to theatrical experiences that defy traditional storytelling. The mix of various artistic influences builds a sense of community among creators while pushing the limits of what experimental theater can accomplish. Experimental theater itself breaks away from the usual theatrical methods, using unconventional techniques, themes, and structures. It often blurs the lines between the performance and the audience, challenging what viewers expect and how they engage with the show. This form can manifest in many ways, from immersive experiences to performances set in specific locations.

EXPERIMENTAL THEATRE

EXPERIMENTAL THEATRE: METHODS

1. Physical Theatre:Physical theatre is a form of performance that prioritizes the body as a primary way of expression. This style may incorporate various elements, including dance, mime, and acrobatics. Frequently used in experimental theatre, physical theatre serves to explore themes that may be challenging to convey through traditional dialogue. 2. Improvisation: Improvisation is a method in which artists create a performance spontaneously, without relying on a script. This technique is frequently used in experimental theatre to evoke a feeling of spontaneity and unpredictability. 3. Non-linear Narratives: Non-linear narratives represent a storytelling technique that tells a story out of order, frequently using multiple storylines. This approach is used in experimental theatre to challenge the audience's expectations of a traditional storytelling structure. 4. Audience Participation: Audience participation is a way to get the crowd involved in the show. This can mean adding interactive elements, letting people vote, or even inviting some audience members to take part in the performance. It's a common approach in experimental theatre to create a feeling of togetherness and connection.

TADASHI SUZUKI: ACTING METHODS

SITI primarily uses Viewpoints as a way to create compositions, while the Suzuki Method serves as a strict physical and vocal training system for the actors in the group. This method includes exercises like rhythmic stamping, sliding feet, and unique walking styles, which were developed by Tadashi Suzuki's SCOT company in Toga, Japan, back in the 1970s. The goal was to help actors regain their physical awareness and express energy during performances. It became a core part of the SCOT company's daily training, focusing on enhancing the actor's awareness of their breath, body, and voice. Actors need to be focused, imaginative, and full of energy to do their best work. But how can they tap into their artistry in unfamiliar places, like a country where they don’t know the language? This is a question that Will Bond from SITI often thinks about as he travels the globe teaching the Suzuki Method. He points out that actors exist with their surroundings and need a focus point to work against. The Suzuki Method provides a daily routine that helps actors connect with their voice, body, emotions, and both their strengths and weaknesses, creating a solid foundation for their performances.

TADASHI SUZUKI: WORKS

JERZY GROTOWSKI

Jerzy Grotowski was a Polish theater director, educator, and theorist known for his unique take on acting, training, and performances. His imaginative ideas are still relevant in the world of theater today. Often seen as a pioneer of experimental theater in modern arts, Grotowski was born in 1933 in Rzeszów, Poland. He pursued acting and directing at the Ludwik Solski Academy for the Dramatic Arts and later studied at the Russian Institute of Theatre Arts in Moscow. In 1959, he established his own theater company in Opole. During the 1960s, his company toured internationally, earning him recognition as a theater artist, in the U.S. He eventually received an official invitation to work in America and left Poland in 1982. He taught and directed both in the U.S. and Europe for several years until he felt his ideas were being misinterpreted. After his time in America, he relocated to Italy, where he founded the Workcenter of Jerzy Grotowski in Pontedera, near Pisa, in 1985. For the next two decades, he focused on refining his directing techniques and theatrical philosophy, primarily working on private productions rather than public shows. Grotowski passed away in 1999 in Pontedera.

JERZY GROTOWSKI: TECHNIQUES

Grotowski's method came through his directing and teaching with small groups of actors. He was passionate about experimenting with different elements of theater. Together with his actors, he explored the limits of the spiritual, physical, and ritualistic aspects of performance. They also questioned the roles of performers and spectators, which is why his approach is seen as a foundation of modern experimental theater. From his work, he created what he called "poor theater," which strips away all the unnecessary elements of a production. This means minimal costumes, props, or fancy sets. Instead, Grotowski focused on the talent of the actors themselves. His technique works best in non-traditional theatrical spaces, where the action happens right among the audience instead of being separated by a stage. It’s a complete difference from standard theater. Grotowski’s method is physical, focusing on the actors' bodies to convey the story instead of relying on props or fancy sets. This idea connects to Bertolt Brecht’s philosophy. Besides Brecht, Grotowski was heavily influenced by Konstantin Stanislavsky and Vsevolod Meyerhold. He took Stanislavsky’s ideas and pushed for a more authentic and physical style of acting. Grotowski also incorporated elements of Stanislavsky’s emotional memory technique into his training for actors.

JERZY GROTOWSKI: HIS THEORIES

1. Grotowski's approach emphasizes focus and awareness: Students are taught hyperfocus, which helps them overcome mental barriers that hold back their performance skills. This focus extends to their physical presence as well. Grotowski's students learn to express an entire text through their movements and nonverbal sounds, relying on their bodies and voices. The technique is all about maintaining both physical and mental health—not just for the performers' well-being, but also to enhance the performance itself. Grotowski's philosophy suggests that true inner peace is essential for unlocking the best performances. 2. Human contact: When it comes to human connection, Grotowski's teachings highlight the importance of genuine interaction between people. He believed that to form meaningful connections, even if they're brief like in theater, you need to be close enough to really see and hear each other. He also emphasizes that actors should be mindful of how their presence affects those around them. 3. Silence: Grotowski thought that the first step for any actor is to embrace silence. He quotes, “The actor should start by doing nothing.” He called this idea “creative passivity.” By focusing on being silent externally, he believed actors could find inner silence, which would help them tap into deep creative focus.

JERZY GROTOWSKI: HIS THEORIES

4. Memory work: Grotowski’s approach to memory is quite similar to Brecht’s. Both emphasize using emotional memory to tap into past experiences, recall the feelings tied to them, and then bring those emotions to life in a performance. Grotowski believed that the more authentic the memory, the more genuine the performance would be. He also suggested that actors can truly understand themselves as individuals and performers only through their most sincere memories. 5. Voice: Grotowski saw the voice as an instrument, much like a guitar or piano. His students learn to categorize their different vocal tones as if they come from various parts of their bodies. Actors are encouraged to explore the full range of their vocal abilities, from the deepest notes to the highest pitches. This training makes Grotowski’s students some of the most powerful vocalists, capable of mimicking a wide range of sounds, from animal noises to natural effects. 6. Physical training: Physicality plays a crucial role in every performance, but Grotowski’s method places a special emphasis on it. He believed that a person’s body can convey everything you need to know about them. All feelings and experiences are expressed through the body. One of Grotowski’s techniques is centered on movement, enabling practitioners to master even the tiniest details of their physical expression—like a twitching eye or a bulging vein. As a result, Grotowski’s students become some of the most skilled physical performers.

HIS WORKS

PERICLES: WHO IS HE

Pericles is the ruler of Tyre, but he’s more of a passive guy who tends to react to situations instead of taking charge. His life feels pretty heavy, with each setback dragging him down further into a deep depression. He’s a skilled fighter and shows real courage, especially when he risks everything for the chance to win Antiochus’s daughter. But once he figures out that Antiochus knows he solved the riddle, he decides to leave. Realizing the threat Antiochus poses to his kingdom, he sets sail for Tarsus, even though this choice could jeopardize his throne. While he’s a decent and honest guy, he’s not the best at keeping in touch with his councilors, often forgetting to update them on his whereabouts while traveling. After getting shipwrecked in Pentapolis, he keeps his royal identity to himself until Antiochus is out of the picture. He’s madly in love with his wife Thaisa and is heartbroken over her death. After nearly losing his throne due to being away too long without news following his first shipwreck, he spends the next fourteen years in Tyre after the second one. He leaves his daughter Marina with friends across the sea, vowing not to cut his hair until she gets married. When he hears about her supposed death fourteen years later, he’s a mess, with hair to match his grief. This crushing news leaves him nearly depressed, silent, and unresponsive, until a young woman’s singing and conversation revive him, revealing that she’s actually his daughter, who’s very much alive. At this point, he starts to hear the music of the spheres, and suddenly, Diana, the goddess of chastity, shows up in a vision. Following her guidance, he shares his story at her temple in Ephesus, where he joyfully reunites with his wife, who is also alive. It seems like his troubles are finally over. Even though he calls out to the heavens, he never blames them; he just pleads for mercy. Looking at his long list of misfortunes—facing assassination attempts, getting shipwrecked, losing his wife during childbirth, and his daughter passing away—it's hard not to wonder what he did to deserve all this. The truth is, he did nothing wrong. He’s just an ordinary king, kind of like an Everyman, who happens to face a lot of bad luck.

THAISA: WHO IS SHE

Thaisa, the beloved daughter of King Simonides, embodies warmth and resilience as the wife of Pericles and the devoted mother of Marina. Her story is one of love, loss, and eventual reunion, marked by a series of unfortunate events that shape her character and her relationships. From the moment Thaisa first laid eyes on Pericles during a jousting match, she was captivated by his spirit and determination. His fierce dedication to winning her hand was not just a display of chivalry; it was a testament to the depth of his feelings for her. Their romance blossomed quickly, leading to a marriage that seemed destined to flourish. Even when Pericles arrived at her shore in old armor, battered from a shipwreck, Thaisa saw not just a man in distress but a partner worthy of her love and loyalty. This playful yet respectful dynamic defined their relationship, as Thaisa often balanced her flirtatious nature with a deep respect for her husband. As they embarked on their journey to Tyre, Thaisa was filled with anticipation, especially with a child on the way. However, their voyage took a tragic turn when a fierce storm struck, throwing their lives into chaos. In the midst of the tempest, Thaisa courageously gave birth, but the joy of bringing new life into the world was overshadowed by her untimely death. This heartbreaking event tore her away from her family, leaving Pericles and their newborn daughter, Marina, to navigate a world without her. For 15 long years, Thaisa remained separated from her loved ones, her spirit trapped in a liminal space between life and death. It was only through the miraculous resurrection of Cerimon that she was brought back to life, awakening to a world that had moved on without her. This second chance, however, came with a heavy price; Thaisa chose to embrace a life of chastity and devotion, vowing to become a nun. This decision reflected her deep sense of hope and her desire to find purpose in her new existence, even as it meant stepping away from the family she had longed to be with. Thaisa's heart, however, remained to her family. The years of separation had left her feeling lost and hurt, a void that could only be filled by the love of her husband and daughter. When the moment finally arrived for their reunion, a mix of emotions she felt within her. The joy of embracing Pericles and Marina was overwhelming, a release of all the pain and longing she had endured. In that embrace, she felt safe that she had finally reunited with her family.

THEMES

The play delivers several themes, with grief, family, and fate standing out as the most prominent. Grief serves as a central focus, particularly through the character of Pericles, who deals with the losses that shape his journey. Initially, he is forced to abandon his home in the wake of uncovering a dark secret about Antiochus and his daughter, which makes him fear for his life. This loss is not merely physical; it represents the lost of his roots and identity. As Pericles navigates his path, he does find love and companionship in the form of Thaisa, yet this newfound happiness is tragically short-lived. The birth of their daughter, Marina, meant the loss of Thaisa, who is presumed dead. This separation from both his wife and daughter plunges Pericles into a profound sense of grief, leading him to question not only his identity but also his purpose in life. The theme of fate intertwines with his struggles, as he frequently turns to the gods in moments of despair, wondering whether his suffering is a predetermined part of his existence. This relentless cycle of love followed by loss comes from his self-worth, leaving him in a state of despair that resonates deeply with audiences. The exploration of grief in the play mirrors real-life experiences, allowing for varied interpretations, particularly in relation to the loss of loved ones or the loss of one's sense of self. Family emerges as another crucial theme. Pericles faces numerous hardships, including the loss of his crew and possessions, which ultimately leads him to Pentapolis. It is here that he encounters Thaisa, who becomes his true love and the embodiment of hope amidst his trials. However, the joy of their union is short-lived, as he is once again confronted with loss when Thaisa dies during childbirth. The subsequent decision to give away their daughter, Marina, in Tarsus further compounds his sense of familial loss, leaving him feeling utterly defeated. Yet, the narrative takes a poignant turn after 15 years of separation, in a heartfelt reunion between Pericles, Thaisa, and Marina. This moment serves as a powerful significance to the resilience of family bonds, illustrating that love can transcend even the most horrible challenges. The play ultimately conveys a message of hope, suggesting that while grief may be an inevitable part of life, the enduring connections of family can provide hope and strength.

CHARACTER DEVELOPMENT

During rehearsals, I dedicated a significant amount of time to shaping my character in various ways, with a particular focus on her walk, speech, and reactions. Initially, when we read the script as a class, I perceived Thaisa as a relatively simple character. This impression came from the fact that she didn’t have many lines and seemed to be a less prominent role in the narrative. However, after I was cast in the role and began to delve deeper into her intentions and motivations, I quickly realized that Thaisa plays a crucial part in the story. Even though her appearances on stage are not as frequent, her influence on Pericles and his development throughout the play is shown. Thaisa is seen as a positive influence in Pericles's life, helping him to create a beautiful family and navigate the waters of his journey. This realisation prompted me to reassess my initial understanding of her character and recognise the depth and significance she brings to the narrative. To enhance my portrayal, I immersed myself in research about the play and its context, which allowed me to refine my interpretation of Thaisa. As a princess, I understood the importance of embodying her royal status through my physicality. I worked on my posture and body language, ensuring that I maintained an upright stance that reflected her noble image. I made an effort to keep my back straight, projecting the confidence and grace that is often associated with royalty. In terms of speech, I focused on delivering my lines calmly and clearly, embodying the poise expected of someone of Thaisa's stature. Her reactions are subtle and measured; she tends to observe her surroundings rather than react dramatically to every situation. This quality adds a layer of complexity to her character, as it suggests a depth of understanding and emotional intelligence. Despite her royal status, I chose to interpret Thaisa as a down-to-earth individual. This perspective allows me to portray her as genuine and loyal, qualities that make her relatable and endearing to the audience. By emphasising her humility and warmth, I aim to create a character that resonates with viewers, showcasing the strength that lies in her quiet support and love for Pericles. Through this exploration, I have come to appreciate the richness of Thaisa's character and the vital role she plays in the story as a whole.

CHOREOGRAPHER

10th October - Dance lesson

CHOREOGRAPHER: INSPIRATION

INSPIRATION- This is what I used as an inspiration for one of the movement pieces

CHOREOGRAPHER: INSPIRATION

The song we used to show the incest relationship with Antiochus and his daughter

CHOREOGRAPHER: INSPIRATION

The song we used for Dionyza's solo

CHOREOGRAPHER: INSPIRATION

The song for Diana's dream

BIBLIOGRAPHY

https://www.historyskills.com/classroom/ancient-history/pericles/ https://library.fiveable.me/key-terms/introduction-acting/anne-bogart https://siti.org/about/ https://dramatics.org/understanding-viewpoints/ https://www.theatrehaus.com/2019/06/the-rise-of-experimental-theatre/ https://totaltheatre.org.uk/archive/features/viewpoints-and-suzuki-method https://www.backstage.com/magazine/article/guide-to-the-jerzy-grotowski-technique-74788/ https://www.playshakespeare.com/pericles/characters/3189-pericles https://www.sparknotes.com/shakespeare/pericles/characters/#:~:text=Thaisa.%20Daughter%20of%20Simonides,%20mother%20of https://facts.net/general/17-mind-blowing-facts-about-choreographer/#:~:text=Key%20Takeaways%3A%201%20Choreographers%20are%20creative%20storytellers%20who,leaving%20a%20lasting%20influence%20on%20the%20dance%20community.