Children's Theatre My Journal - Children's Theatre (2005) Week Four

Auditions are fun; yet like exams, they expect a certain level of spontaneity that I cannot always produce. I never achieve, what I would call, a satisfactory performance in an audition as I have huge problems with creating a character on the spot. When I am eventually given my role, I will develop and improve upon it over the entire semester. I take the established script from Jenny and create my interpretation based on what I read. ‘Once the ‘doing’ of theatre is reinstated, then the notion of individual authorship is also challenged’ (Aston & Savona, 1996:2). I begin to create my personalised character as the rehearsals commence; one that develops and improves upon the author’s concept of the initial role.

My first presentation of any character is always below my best work. As Brendan said to me in the refectory after the auditions, ‘you can do a much better job than that’. His reflection of my performance was completely correct, however he is no longer on my Christmas card list; not that I have a list, but I’m thinking of writing one so I can cross his name off it! All this aside, many important points came out of this discussion with Brendan.

It is extremely important and useful to receive feedback from your peers. Constructive criticism is so crucial in the development of our individual performances and the success of the ensemble. Brendan’s observation shows not only his awareness of the ensemble, but also illustrates the need for the whole group to share information, ideas and comments. It was also important for me to be aware of the areas in which I lack confidence and skills. As I said in week one, I need weeks to create a competent and believable character; that is making the character my own. This conversation with Brendan further highlighted the need for my focus to be on the development of a one-minute character, yet how is it possible to create a character without resorting to stereotypes.

The audition I presented today of ‘Blackbeard’ was a stereotyped performance. This presentation focused on minimal and simplistic actions, direction and use of voice. Understandably, considering it was one of my first read throughs; this quick interpretation of characters was only built on basic aspects of the script. The semiotics of the script suggested to me, through my subjective interpretation, that Bluebeard is a conventional pirate. The constant use of the cry ‘arrgh’ and the calling for his ‘wench’ indicates what I would associate with a ‘traditional’ pirate.

What is important in understanding the semiotics of a text is comprehending the way a text communicates to its reader. Just as an actor communicates meaning through performance, a text uses little devices to allow for decoding. These are fundamental principles, yet they help to create a basic understanding for the reader. A setting instantly creates a location for the character and stage directions connote the intended movement required for a scene. Even the basic addition of a word such as worried, connotes to the actor a need to change the manner in which they speak. A script needs ‘to be realised in two planes (time and space), not one (Aston & Savona, 1996:2). A script sets up a template from which the production can begin, however a script cannot exist solely without the performance.

If you notice, basic explanations of characters and events were clearly categorised for each scene. Jenny has even listed on the whiteboard each character under a heading that corresponds to a position, good, bad and ugly! This simple classification instantly communicates to the performer who is a reader of the text. This would mean that Jenny has eliminated most personal interpretations by stating clearly the status and position of each character. As a reader of the text, the meaning is clearly established. Our job now is to develop a character that communicates the intended message of this text. Like Chinese Whispers, pay attention and pass on the same message; this time to the audience at Nexus.

The other section of today’s workshop focused on the singing auditions. As I said in last year’s journal, singing is not an area I feel comfortable with; this is not to say that I won’t do it if I am asked. In the Shakespeare unit last semester I performed a song at Nexus Theatre, however I was not overly confident. My best asset is the ability to give it a go even when (and especially) when I am not confident (ironic I know). Expanding my comfort zone is crucial to my success in university. Right now I am writing my journal, an activity I have a lot of confidence in. I use this confidence to attack my next challenge, overcoming my computer ‘illiteracy’. By having to engage with the horrors of trying to keep this website up and running, I constant leave my comfort zone in an attempt to experience and learn more.

[i] Stargate SGI, broadcast on Channel Seven, 17 February 2005. http://www.gateworld.net/sg1/s8/transcripts/816.shtml

I only was available for a short time this morning, however it was great to turn up to the workshop. Ironically the workshop I turned up to is the one where we read a script for the first time as a group. I am not good at this!!! (Stupid, stupid, stupid!) I’m so close to being illiterate its not funny; however I still manage to show my face (eh!) It doesn’t help that I have poor reading skills, but I also see the presentation of drama as being more important that just the reading. That is one of the problems faced with literature studies of drama; teachers ‘fail to consider drama in its theatrical context as a work which exists not only to be read but also to be seen’ (Aston & Savona, 1996:2). For me drama is doing, through movement and words.

I discover a lot more about my character by making mistakes and experimenting with various techniques. Like teaching itself, I attempt to improve upon my concepts, share and develop. I also crave the feedback given by others. Learning from your peers is invaluable; constructive criticism will not only improve your performance, but that of the entire ensembles’ final production. Even in all areas of my work, constructive criticism plays an important part. Alexa sent me a great e-mail last week in reference to my on-line journal.

She suggested that it would be easier if I presented my journal in reverse order; to read the latest entries, visitors would therefore not have to scroll through every previous week. This is an approach I thought about, however I opted for a format that showed the chronological and logical progression of my Children’s Theatre journey. This great feedback made me think and re-evaluate the presentation of my work. I have now chosen to place the latest entries at the top of the page, and the rest in their chronological order. In fact, feedback is what I have been receiving all week.

Besides my school experience lesson feedback, Brendan and I had another conversation regarding the progress of this unit. We both mentioned the amount of time that was given to the auditions, something that I have experienced before. The problem being if you weren’t auditioning, you were rehearsing lines or sitting around. How could we use this time efficiently? We came to the conclusion that this time could be used to focus on reflection. I find reflecting to be the most valuable tool in improving my personal work. It gives me the opportunity to look at aspects of weakness (and strength) and create approaches to develop myself.

For instance, reflecting on my objectives for this unit, I noticed I have yet to define the basic elements associated with semiotics. Is this something I need to do? I guess in a journal I am writing it to myself, therefore the basic knowledge of semiotics is known; although it could be helpful in describing and stating the foundations of my research. I assume it would also be useful to refresh my memory by restating these basic concepts. By redressing these concepts I can develop my thought processes and structure my remaining direction for the semester.

It is probably better to talk in assumptions from my point of view, rather than regurgitate quotes from a book in this initial definition. From my previous studies into semiotics, I have found that a message consists of two parts; the concept and the sound image. Using the example of the King again, a crown would be the physical concept (signified) and the word ‘crown’ (signifier) is used to define it. There is also an arbitrary nature between the name and the object; a crown is so called because our society decided upon its name. How does this translate into theatre and performance?

With our new scripts today, there are certain messages hidden in the text. My character, Katzenellenbogen, is described as striking an ‘arrogant’ pose. The word arrogant has no connection with a real object; it is society’s perception of the term that is expected in the presentation of this pose. The semiotics of a sign would therefore need a description like ‘arrogant’ to have some social context; in this case, it is based on the stereotypical perception of a Dutch Spice Trader. This is the next important step in character development, researching my role.

The semiotics of sign is exactly that, a sign. This creates a message that can be understood or interpreted by others. Just like the signs in a supermarket, which help people understand and find what they need. A supermarket has a sign saying ‘ Fruit’; the sign is not fruit, yet it indicates where it is. The more detailed the sign, the better the reader will interpret it (a banana sign for instance would direct the reader a lot more quickly). That is my aim this semester (to make a banana sign? No!), my purpose is to create a character that communicates a message to the audience quickly and to the broadest range of people. Previously for Jenny, I have been a nervous kangaroo, an overacting lover named Alfonso and a 'puritanical killjoy' from Twelfth Night (Gay, 1994:17). This time I’m an arrogant cat, and between you and me, it’s starting to look like that I have some serious self-image issues or people are perceive me badly; what is it you are trying to say Jenny???

[i] Richard Forman, The Mind King, in (1995) My Head Was a Sledgehammer and Other Plays, Overlook: Woodstock, New York, p.137.

It is really important to understand the next step in this Children’s Theatre journey. Jenny has created a script that is about fictional and factual people, information and events. The characters in this script have been created to this point, however it is now the job of the actor to create something from the given text. Whatever the actor does from this point on, the character they produce would have not previously existed. For instance, Hamlet has been performed many times and therefore many interpretations of the same character have, do and will be created. All the Hamlets’ are different, for various reasons; yet I believe one of major differences is research.

Research is the next vital step in developing characters and achieving the most from the rehearsal time and workshops. ‘Rehearsal techniques rooted in blocking of moves and the learning of lines and little else are responsible for much of what Peter Brook has identified as the all too prevalent mode of ‘Deadly Theatre’ (1968) (Aston & Savona, 1996:5). I think it is of great significance to look at the history of the play’s location, the citizen’s of the time and the animal that you have taken (‘taken’ meaning acquired, not ‘stolen’ from a zoo!). For myself, my focus in creating Katzenellenbogen is on cat movement, the Dutch Spice Traders and their history with Western Australia; particularly Rottnest Island.

One of my major concerns is based upon creating a Dutch accent. This is something I fear I could really stuff up. I fear that my Dutch accent could sound too Swedish or with no Dutch accent, British (which is definitely inappropriate). The Swedish accent might ‘fool’ the school audiences, yet would be unprofessional with the adult audience, is this what I want? If I’m going to create a believable character, they should speak with the correct accent. These concerns I raised with Darren, who was great to use as a sounding board (however as a surfboard, he lacks buoyancy). To be honest though, I still have no idea how I will develop Katzenellenbogen’s voice.

In some initial research, I have found out that the Spice Traders believe ‘that spices represented a 'sure bet,' when it came to making a profit’.[ii] Spice trade previously had returned a very reasonable profit, until everyone entered the market. The market, ‘which seemed insatiable in 1599, had become saturated by 1601, causing a fall in prices, which, in turn impacted profits’.[iii] This small amount of information, while only basic, describes a lot about the personality of these traders. Character traits of arrogance and deluded self-belief resulted in a lot of these traders losing everything. In developing my role, this type of information helps to create the appropriate attitude.

I believe movement is the vital area of my character development in communicating this attitude. As a cat, my walk, stance, gestures and manner must reflect the animal. To help in creating my style of character, I have chosen to focus on the Korat breed of cats, which are the oriental cousins of the Siamese.[iv] The arrogance of this cat is well known and expected; they also ‘are assertive and like to establish dominance over other pets and people’.[v] By choosing a particular cat, I hope the development of my movement will become more detailed. This is something I am not sure of how it will work; yet it hopefully will provide a focus for my research.

The developmental process that I use in character construction normally results in the drawing of my character. I find this is a great way to visualise and justify all aspects of my physical construction. The picture shown is only a draft (please note the major mistake in not knowing my left from my right eye; tut, tut, tut!) however it is a starting point for developing my role. The main aspect is the presentation of a cat, therefore heels off ground, standing tall and proud and even an evil gammy eye (don’t all cats have one?) The thrusted chest is a direct copy of the Korat breed, as their ‘broad chests’ can be described as personality traits of arrogance and pride.[vi] Through this initial drawing, I hope to improve the presentation of the cat every few weeks (mainly through trial and error).

Cats as a whole are representational of ‘differing symbolic significance’ depending on the culture (Tresidder (ed), 2004:89). Cats, depending on culture, have been worshiped, honoured and even feared due to their supposed connection with black magic. Why is this important? Well it is vital that I research all facets of ‘cat culture’, as I may find an aspect of cultural myth to include in my characterisation. I think, the symbolic myth of cats that is most useful to me is how the Roman culture made cats into ‘emblems of liberty’ because of ‘their self-sufficient freedom’ (Tresidder (ed), 2004:90). It may not be a giant aspect of my character development, however it could help.

[i] Quote by Camus in Eric Paice (1981) The Way to Write for Television, Elm Tree Books: London, p. 15.

[ii] http://www.periclespress.com/Dutch_tulip.html

[iii] http://www.periclespress.com/Dutch_tulip.html

[iv] http://www.burkesbackyard.com.au/2001/archives/2001_archives/roadtests/cat_breeds/korat_cat

[v] http://www.burkesbackyard.com.au/2001/archives/2001_archives/roadtests/cat_breeds/korat_cat

[vi] Author Dennis Ganoe, http://www.korats.com/sublime/korat-fa.htm

(Melissa, Lauren, and Steven read through the, very recently written, second act)

(The whole class read through is followed with a character development workshop)

View other 'Semiotics and Performance: The Role of the Actor' journal entries...