Communications: Alice

Alice:

My first meeting with this director was the same as police brutality. We discussed the different themes and scenes she would like to create. The style she was going for was surrealism

As I attended my first rehearsal on the same day as police brutality there was a lot to remember and take in. The scenes were all there and didn’t change much so I didn’t have to attend every rehearsal. She was adamant on what she wanted lighting wise but I managed to make a few changes which I feel enhanced the performance.

Scene one was to have three chairs and one table. I said there is a way in which I can do it if you have the table and one chair centre stage I could use the spot from police brutality and use the two Macs on the rig to spot the other two chairs wherever she would like them. She liked this idea as it gave her freedom of space.

Scene two she was uncertain of, so I put forward the suggestion of having the lighting as though wonderland was forming around the performer. The scene consisted of the mad hatter talking about how wonderful wonderland is. I was asked how I could create that, so I replied saying I could fetch up each lantern one at a time with different colours giving off the effect of something forming. This idea was settled after discussing my reasons behind it.

Scene three, I was thinking about the music which would be underscoring the performers. It was a circus theme so I automatically thought of red and yellow. I felt like things were two stationary so I put across the idea of creating a chase so that they change colours. This is so I could get out of monotonous cycle which I could feel myself forming. Again the director liked this idea so it was set in stone.

Scene four was a Cheshire cat scene, so to create a sense of realism I went back to Disney’s version and suggested a purple stage with general coverage for visibility. I did mention about a gobo to texture the floor but the director just wanted it to be simple. I respected her decision whilst still trying to persuade her otherwise.

Scene six was a movement piece. There was a few differences with this scene but we both worked together to create a suitable state. I said to have side lighting and backlighting. I research movement pieces and this was more of a dance. I learnt that dances have side lighting to shape their movements.  The director wanted backlighting to make their movements more dramatic. We came to a compromise and decided to try them both together with the agreement that if the director wasn’t sure in the tech we would go with the one which looked better and created more emphasis.

Scene six was a remotely sad scene. Mad Hatter is talking about wonderland is falling apart. With this I jumped to state two and thought of doing it in reverse. This was to show the deconstruction of wonderland. I said it would be effective as in the end the performer would end up in darkness as though wonderland is no more.

Scene seven was the same as the first scene as it is repeated but is extended. In the end we see a performer leaving the audience and stabbing ‘Alice’ Myself and the director came to the conclusion there would be a snap of red when the performer is stabbed.

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Research of Love and Information: Style

There are a number of styles of Theatre ranging from Theatre of cruelty to Commedia dell’Arte. There are three different styles in which the three directors wanted to go for. .

The first style is absurdism.

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Theatre of the absurd is believed to be originated in the 1940’s and evolved up until the 1960’s.

Here is a quote that I have found that states what Theatre of the absurd is:

         A form of drama that emphasizes the absurdity of human existence by employing disjointed,              repetitious, and meaningless dialogue, purposeless and confusing situations, and plots that                lack realistic or logical development.

(Farlex, 2003)

This is stating that Absurd Theatre is hard to follow as it has no plot. Scenes may be repeated. Personally, I feel that this is to keep some form of consistency during the performance. I personally feel that this form has a slight sense of surrealism, as it states in the (Posted, 2013) (History.com, no date) quote, it lacks the realistic side of the performance, and has no development with logic.

The idea of Theatre of the Absurd is that the play will dictate the structure of the performance. The language that is used to generally dislocated, full of cliches and puns, which, as I mentioned earlier is repeated throughout the play. This style of Theatre declined in mid 1960’s

 

Poor Theatre:

Referring to Nicola Mezza’s presentation on prezi, and Britannica online, I have been able to find out and discuss what poor Theatre is and know why it is used.

Poor Theatre began with the Polish playwright Jerzy Grotowski in the 1960’s. He believed that Theatre would never be able to compete with media, so it should never attempt to. Grotowski also wanted the performers and spectators to have a relationship during the performance, as he believed it would be more intimate for all parties. The aim of poor          Theatre is to eliminate the barrier between audience and performers, thus creating communication between the two. The influences that caused this movement in Theatre was, paratheatre and Theatre of transformation.

In this time, spaces dedicated for Theatre were changed for deserted rooms and buildings. The performers of poor Theatre are able to communicate through sound and movement. Poor Theatre is aimed to use the simplest form of staging, lighting, costumes and special effects. Symbolism was the main form of poor Theatre.

  • Image citation:
  • ([CSL STYLE ERROR: reference with no printed form.])
  • (Theatre links, 2016)

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Postmodernism

I am aware that I spoke of the postmodernist era in the period of the production, however it is the style which I am now going to be talking about. It is believed that postmodernist Theatre is superseded of modernism. It challenges accepted views on the world. The narrative is generally broken and paradoxical.

Postmodern plays would use technology as scenery and use backdrops in the history of times that are being performed which would give the audience a better understanding. Also some smaller Theatres would perform outside. The audience would participate with performers creating an experience together. The majority of the issues tackled in postmodern Theatre are created from history, culture and social issues.It is believed that postmodern Theatre rejects chronological linearity, meaning that what happens at the beginning of a story, is not what essentially happens on stage.

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Reference: