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

Although I have great difficulties in reading out aloud from an initial script, I still always give it my best. My best in this case is quite ordinary, however this doesn’t affect me. My confidence in my abilities (and knowledge of my weaknesses) is possibly my best strength (or is that arrogance?) I know how hard I will work to create this character. Already I have looked at a number of different websites on the Dutch, chosen a cat breed and drew an initial style for the presentation of my character. These are only the basic starting blocks in creating a character, but are a vital foundation.

What I have found useful in my character’s construction is the continuous referral to the key word ‘arrogant’. The Spice Traders of Dutch history are synonymous with being ‘arrogant and opinionated’ (Wilding & Tilbury (eds), 2004:96). The word itself is described as being ‘unpleasantly proud and behaving as if you are more important than, or know more than, other people’.[ii] By using this word, my character development has increased with a clear purpose. Rather than just a Dutch ‘cat’, I have specifically researched the arrogant nature of the stereotypical Dutch at this time in history. My focus has developed a specific cat that meets these aspects, and therefore my character development can begin with this in mind.

This leads me to start speculating on aspects of some strategies for constructing a one-minute character. The initial idea is to choose an animal of some description; animal movements define characteristics and status. For instance a bird with its chest pushed forwards appear proud, and a lion is almost always a king because of their status with others (it’s good to be the king!). The second aspect in creating a one-minute character is a key word. Shy would be the word to describe Ares from last year, arrogant is used to describe Katzenellenbogen for this year. From this start a quick stereotypical character can be constructed, however for better character development deeper research is necessary.

As we left today’s class, I made an announcement about the importance of starting to research our given characters. For the final production to look good, we must work hard now! One poor characterisation reflects on the rest of the cast. I find the investigation of my character fun as it offers another way to see the play. That is to say, research offers a way to see how Jenny has developed individual characters and created events from what is both historically accurate and fictional. The research is also vital for another reason.

Nicole is in charge of the ED pack for this year’s production. All of the details I discover will and have been passed on to her. I believe this is one of the most vital jobs of the production, as the ED pack will exist years after the production itself (no pressure!) The characters, sets and properties will only exist in the public for the production’s one-week period, however the ED pack will remain part of a teachers’ resource for their career. Why is this so important?

As an ensemble, I believe it is crucial to forward any character, costume or design information to the ED pack (or at least the person writing it). The final product reflects the whole classes effort, not just Nicole’s. It is the only piece of material, besides the DVD, that will live on after the production. It is also important as it determines how the play is interpreted in the classroom. Through Drama in Education, the pack offers a way for the student audience to create meaning from the production (way after the performance). The ED pack will instruct teachers how to gain the most out of the production, and therefore convey the message of the play itself.

For myself, the development of my role has seen a small amount of research and the choosing of an appropriate breed of cat on which to base my characterisation. I hope to pass on this information soon, therefore possibly helping with costume design or someone else’s character development. The drawing from last week did help a little in this week’s workshop. Walking off my heels had a great impact as I got to physically look down at other characters and also appear tense (which is something I had not even thought of). Hand gestures need to be changed, to what I don’t know but I have a couple of weeks to decide. The mannerisms need to seem natural, and at the moment they seem stilted. There is also a need to learn lines quickly. My gestures will become more free when the script hits the floor.

(Draw your ideas now, so later you can reflect upon them. This is the finalised design of the windmill)

(Jenny's direction is vital; correct blocking will ensure the production's message is communicated)

(Warm-up's are essential before workshops due to the physical nature of rehearsals)

It was great to turn up for the backdrop painting today, if for only a short amount of time. It was brilliant to take part in this activity, something I had failed to find time to do last year. I feel that this is a really important experience as these sets create the world that the performers exist within. An actor’s characterisation alone can communicate effectively to the audience, however I believe that the set is crucial as it completes the setting. ‘Everything which is presented to the spectator within the theatrical frame is a sign’ (Aston & Savona, 1996:99). As basic as it is, the set defines the location.

The piece today presents the location of Rottnest Island. This simple backdrop uses waterbirds, seagulls and storks that are common to the Western Australian area, as well as the beautiful colours of the Western Australian sunset. ‘The cultural connotations of sunlight and flowers are in general terms positive’ (Aston & Savona, 1996:149). This piece conveniently communicates to the audience the locality and beauty of the area through bright colours and a collection of waterbirds. This possibly suggests that the characters that live here are ‘good’ and live in a safe, positive place. It appears these pieces do communicate to the audience, however is this message suitable for the young audience to decipher or isn’t it important? It is important for sure, but I will need to investigate its relevance.

At this point in the year, I like to review my objectives and speculate on how I am achieving (or lacking) competency. By doing this it allows me the time to readdress my approach to the unit and set new goals. By setting new targets I will help to ensure that I can still achieve the objectives I have been overlooking. As I am completing an Independent Study Contact, my unit objectives are different to the EGL213 Children’s Theatre. In EGL395 Semiotics and Performance: The Role of the Actor, I have attempted to meet the following specific learning objectives.

Objective One: Gain a knowledge of semiotic theory, (project outline: using the workshop approach (Children’s Theatre) I will explore, theoretically, relevant semiotic approaches to performance). This is an area I started brilliantly on, however lately my time and effort is lacking. Due to my school experience and various other assessments, developing my knowledge of semiotic theory has essentially stopped. To correct this I have just recently discovered and loaned a number of different texts on semiotics and performance. I hope over the next month to report and speculate on this research.

Objective Two: Develop a theoretically informed, practical model for application in performance by actors, (project outline: I will draw up a model (practically applicable) for actor-training by working with students in class and refining the method). This is an objective that will take most of the semester to achieve, however I am partially pleased with the small amount of progress I have made. I queried the need to create a one-minute character and then to develop various approaches to progress and enhance the actor’s role. The area I need to improve is the development and implementation of an actor strategy. I need to create a model for actors to use and introduce into their role preparation, but how? I still don’t know. I do need to complete this soon to successfully achieve objective three.

Objective Three: Develop my actor-training skills, (project outline: I will offer both a written critique of the value for actors of the model and my own practical/performative deployment of the model). Once again I am pushing my character development as the major focus of my study in this unit, which is also problematic when I reflect on the other two objectives. By finalising aspects of objective two, I will soon be able to develop this objective. I believe that as the workshop time increases, so should the focus on these skills. The employment of drawing my character, researching my role and experimenting with movement have so far helped in creating the foundation for a reasonably good character. I have also found the writing of tips and observations have helped me to justify and implement my personal approach to character development.

[i] Freddy and Kendra, Eventual winners in the sixth season of The Amazing Race, broadcast on Network Seven, Thursday 31 March, 2005

A man lies dead in Nexus Theatre, surrounded by little pieces of charcoal. How did he die?

Answer: He asked too many logic puzzles and was stabbed to death with little sticks of charcoal!

Today was great, if you like tracing around a picture of little fish and coral!!! As I said on Monday, this is part of the production I failed to show up to last year, however was not going to make this mistake twice. The energy and determination of the production crew is great, and the work they have put in to ensure that these backdrops are finished ahead of time is admirable, so too the showing of a number of actors. Kate and Alex have both shown a tremendous commitment to the production by showing up today. Sarcastically, the backdrops will be completed eventually even if only one person does all the work. The important thing to note here is teamwork, because the more people that work together, in any area of the production, the more they can achieve.

I find that working together for a common goal is crucial; and in this case, we are all aiming to make the best production possible. I was able to talk to Brien today just before the charcoaling began. Through our conversation, I mentioned how much trouble I have been having creating an accent for my character. He suggested I avoid the accent altogether and apt for a voice that is just slightly different to the characters that surround me. As he said, an actor who creates an accent could actually stand out too much and therefore lose realism. The characters we create should seem normal and not strange. This was a vital conversation as it raised two critical points.

Manipulating my pitch could be a useful way to present Katzenellenbogen. By presenting my voice at the one tone I could make the appearance of a distinct character when compared to the other roles, however without standing out as completely different. If my accent is too strong, audience members may be defamiliarised by my performance, thus reminding them I am only acting. This completely sabotages my attempts to create a believable character. It would therefore suggest that my character must appear as just a little different to other characters, yet without being too dissimilar to stand out as odd.

The other point of this entry is to highlight the possible feedback from Brien. Not only is he extremely useful to the production crew, but he is also of great assistance to the actors. Brien has seen many years of productions, from behind and in front of the stage. His opinion is not just as a casual observer, or even an audience member, but also as a knowledgeable professional. He knows what works and will not work on stage, because (more than likely) he’s seen it before. He has seen actors like us parade on stage for years, and his advice is helpful, knowledgeable and to the point.

Katzenellenbogen has a few sung solo lines here and there.... *sorry dude* .... nothing too stressful, though! Definitely no 'No Longer Mourn For Me When I Am Dead', so I'm sure you'll do fine!!! :P :P :P Demo CDs by the start of Week 8!

Nick Choo

The breakthrough I had today kind of contradicts my last entry, however here it is anyway. In today’s workshop, I attempted to introduce new elements to my character movement and presentation. I played around with adopting a claw type hand, a hand consistently on my hip and a lifted upper lip to show my teeth. I’ve given my character a deformed paw to connote a possible stroke that may have afflicted his left hand side. The concept of a stroke communicates Katzenellenbogen’s ability not to slow down. I have giving my character a subtext to create an existence beyond the script. A subtext itself is ‘a layer of unspoken meaning on to which we project our illusion of the character’s depth, coherence, reality’ (Burns, 1990:13). I hope by using a subtext, the audience will be encouraged to ‘read’ character as ‘more’ authentic. The idea for the hand on the hip has developed from the term arrogant, and the other two gestures have developed from the idea of a cat that is scheming or backed into a corner. I experimented with displaying my teeth as a sign of hostility, however I also tried to talk.

Ironically, the change in my lip forced my cheeks up thus changing the presentation of my voice. Although I used the one toned pitch, the change in my voice presented a slightly Dutch accent. Believe it or not, I was not expecting it. For the rest of the workshop I felt comfortable trying different combinations. I’m not afraid to experiment with my character development because mistakes can occasionally create triumphs.

What I found interesting about today was the tip that Darren offered to learn lines. He suggested recording your lines on a tape, and playing it over and over. The interesting part is that it is a completely different approach to the way Paul uses, and even me for that matter. Paul learns his lines through rehearsals (through interaction), and I learn my lines through repetition. When I walk home from uni, or fill the fridges at work, I learn one line of dialogue and repeat it until it is learnt. This does sometimes fail as an approach as I don’t often remember the cue, and sometimes fall flat on my face (figuratively and physically!)

My point, eventually, is that different approaches work for different people, just like how everybody may not interpret a theatrical play in the same way. Diverse ‘reading’ of a character or a play could occur because of a different culture or time. Captain Quokka would not be interpreted the same way if it were actually shown in the time it was set. Audience perception and reactions are based on many factors external of the theatre itself. ‘Everyone and everything placed within the theatrical frame has an artificial or pre-determined meaning’ (Aston & Savona, 1996:99). Even how the audience feels on the day could alter their interpretation, therefore should the various approaches to characterisation try to appeal to the cultural masses? Does this mean I’m looking at stereotyping characters again? Give me a week, and I’ll get back to you!

Changing subject (slightly), I was able to sit in on a costume meeting today; it was great to see how the group was developing their ideas and approaches to each character. The costume designers are trying to recreate the presence of the animals that are in this production. The choice of colours and styles must not only refect the desired animal, by also the personality of the character. For instance, Sol the Seagull has a predetermined, or perhaps predictable, design approach.

A seagull must meet a number of strict rules. Semantically speaking, a seagull is ‘read’ as a white bird, with wings and feathers. To present Sol dressed only in orange material would confuse an audience. To lose audience focus could also lose the message of the play being communicated. Cultural expectations of an audience not only would expect, but also demand a white bird; however Sol is not just a seagull, she is also the narrator. This combines another costume addition in the presence of a suit. A narrator is a symbolic image of knowledge, they not only introduce the narrative, but they also guide the audience. The narrator’s omniscient presence allows them to see into the future and to detail important factors that have, will and do occur. As a result, the costume for Sol is a suit; not only a symbolic item of knowledge and power, but a defining item of our culture. A ‘costume is employed here to index the dramatis personae in terms of character, self-image and self-presentation, and social and economic status’ (Aston & Savona, 1996:134).

Although I am stressing the costume designed for Sol creates a believable character, ironically Sol is one of the only characters that consistently talk directly to the audience. This type of Brechtian theatre creates an environment where the audience is deliberately shown that the play is constructed; that is, explaining we are only actors. ‘The theory and practice of Bertolt Brecht has most clearly illustrated the formal notion of ‘making strange’ (Aston & Savona, 1996:7), therefore drawing attention to the established imagination created on stage. In this regard, Sol becomes a kind of life instructor or coach. I believe in this context, Sol instructs the audience with information; therefore imparting her knowledge and the play’s message. ‘We ‘read’ people we see in the street according to how they dress’ (Aston & Savona, 1996:99). I think it is Sol’s physical presence (i.e. her suit and seagull costume) that connotes a level of cultural connection that allows the message to be imparted.

As for myself, I received a number of new clues for my character today. Jenny informed me that my character requires a Commedia dell'arte style in its presentation. I also need to look at a sort of Henry the Eight presences in my characterization (I even found a website of a cat dressed like Henry the eighth [ii]). These are bits of information that I can now research and develop in my approach. For instance, Henry the Eighth was a 'large' man possibly regarded by many today as obese. Societal view on weight have change dramatically since his time, ‘so much so that in many societies obesity was a status symbol and regarded as attractive’ (Wilkinson, 1997:44). As with most things in university, my ideas, approaches, development and beliefs are being constantly adapted. Learning will never stop; I will be challenged everyday.

[i] The Agatha Christie mystery, The Murder at the Vicarage (2004), on the Australian Broadcast Corporation, 13^th of March 2005.

[ii] Picture by Melinda Copper, http://www.porterfieldsfineart.com/MelindaCopper/henrytheeighth.htm

'Your ongoing commitment to this is really impressive... Thank you so much for all you're doing - it is hugely appreciated.'

(Jan Pierawiet's original sketch creates a visual aid for the costume department)

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