1 ) What important discoveries were made during the rehearsal?
Although they weren't discoveries as such, we began to experiment with ideas for the bingo /physical theater scene. As a result of this, we choreographed a short motif of movement where we 'stamp' the daubers on the table. Nicole had a really good idea of using the daubers to spell out HERO. At this point, Claudio won't have met Maggie or Ursula or experienced Hero's return- therefore this not only foreshadows the events and character transformations to come, but will also cause him to begin to panic (the audience will start to suspect his unstable mental state- slightly surreal). Further to the idea of a motif, we planned other movements/gestures relevant to bingo that could be incorporated into the routine. Currently we are stationary, only using our arms, and sitting at one level. To add dynamic and texture, we could stand, swap places, use the sheets- passing or swapping daubers, change tables etc.
We have also decided to use some of the first year performing arts in this scene as there are only a few of us playing bingo- only enough to fill one table. Within this scene we want Claudio to feel overwhelmed, outnumbered and out of place. Using more people will help us to create this atmosphere.
Further to this Amy and George suggested possible ideas for music (see blogs). Amy's music choice in particular reflected the particular style, rhythm/tempo of our movement, and the 'typical' atmosphere environment of an old hotel entertainment evening.
2 ) What led to those discoveries?
Although we had initially discussed our ideas for the bingo movement, it wasn't until we actively experimented with these ideas that we were able to discover what worked/ didn't work.
This appears to be the way forwards with most of our ideas; until we can actively start work-shopping our ideas, we won't know whether we want to keep them or develop the further. Sometimes there will be ideas that are easily envisioned or sound good when explained yet might be hard to perform or put into perspective. We have to also consider our budget and the resources we have available to us- this may rule out some ideas/possibilities.
3 ) Towards where do those discoveries lead?
Now that we have this idea, we are able to 'park' this and explore different ideas. Nothing at this stage is definite or set in stone therefore we will work-shop as many ideas as we can- this provides us with lots of different ideas that we can come back to, develop or use. It also rules out certain ideas that haven't worked- which gives us a realistic list of potential ideas that can be used or referred back to at any time during the devising process. We need to continue work
4 ) Consider questions No. 1-3 except focus on important roadblocks/dead ends.
Now that we have this piece of movement, it's important that we don't rule out any other possible motifs or ideas for this scene. We have to remember that our decisions are temporary and able to change. In order to ensure this doesn't happen, we could perhaps spend time at the beginning or end of next rehearsal exploring a new alternative idea for this movement - so that we are constantly developing and being open/accepting to changes. We may even create something better than before!
5 ) Reflect on dramatic action and conflict. How’s it going? What actions does this suggest?
In terms of dramatic action, we currently have some plot twists - where that audience realizes that the hotel is in his mind (all imagined), and when the roles reverse (Claudio commits suicide). Through work shopping and developing these ideas, we have potential to create dramatic tension, provoke emotion and suspense. As we continue to research into each of the topics that have arisen as a result of our ideas; including guilt, memory, mental health, surrealism etc. we will be able to include more elements and 'shocks'. The fact that the hotel is an aspect of Claudio's imagination, we are able to explore surrealism and abstract theater- making our performance unusual and unexpected.
6 ) Reflect on transformational leadership. How’s it going? What actions does this suggest?
I feel that everyone was able to contribute ideas today. We explored everyone's different suggestions for the bingo scene and 'parked' ideas that we want to develop in future rehearsals.
7 ) Reflect on the journey of one or both of the actors with whom you are working. How’s it going? What needs to happen next?
I loved Nicole's idea of spelling out Hero's name on the bingo cards. From this idea I can imagine the development of fear and panic within Claudio- transformation from confusion to shock and fear. Furthermore, with little signs of Hero's presence within the hotel we are able to create a sense of her omnipotence- always surrounding, watching and haunting Claudio. It's as though she's always lingering on his conscience.
8 ) What is the most important thing that happened (or didn't happen) in your recent rehearsal? Unpack its importance.
Today was significant by the way that we were able to progress from the discussion stage to work shopping. Here we got a sense of the style/atmosphere of the hotel- this was portrayed through simple things such as the music choice, representing a particular era.
Although we were able to begin practically working, with lack of knowledge e.g. Characters, entire structure of our piece, dialogue from the Shakespearean play etc. we found it difficult to devise anything other than the physical theater piece. For now, we are going to focus mainly on the group pieces and sections that we know we can all perform- allocated roles or not! We have ensure that this doesn't block our creativity however- we can easily work around this through allocating temporary roles for each rehearsals?
9 ) What is the most important thing that could happen in your next rehearsal? How will you shape the rehearsal in order to increase the odds of that “thing” happening?
Now that we have assigned topics of research and deadlines, we can continue working through this as more knowledge and source material will be produced as a result. Furthermore, as a starting point we will be able to explore the Shakespearean text (which Amy is researching) and begin to link this to relevant scenes or characters.
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