During my research I discovered the Wooster Group is a great theatre company to develop my post-modern acting skills and stimulate ideas for the production . This is because the  Wooster group is a theatre company  specialises in experimental and post dramatic theatre and their work rejects naturalism. With that being mentioned the work of the Wooster Group   is unique and distinctive to many other theatre companies since their work is produced from the use of a variety of different materials such as: the performers, the elements that are out of disposal, tech, staging, music and the texts . All  these materials the Wooster Group use creates a fabric or a  piece which results into it  being  theatre.(The Wooster Group,2020) Furthermore, I discovered that the Wooster’s group work is based upon a group of performance personae that’s been taken on by its members, round about comparable to the lines in a renaissance theatre troupe. These personas while not fixed from piece to piece which to some extent  reflect and thrive off of their persoanlities and interactions of their collective members (Auslander,1997:39) This demonstrates that the Wooster groups work is built around the members of the organisation and their own ideas of spontaneity.

I also disovered  from using Auslander’s book that ‘Many critics have argued that post modern performance is manifested in the work of the Wooster Group. This questions the accuracy of naturalist theatre through different strategies to: acting and performing , which aims less to represent character than to identify that it portrays the performer; text which appropriates and integrates high and low cultural source material; and style. For instance this is manifested in the groups use of violently non linear composition and multi multimedia(Auslander,1997:39)

In conclusion to the research I have obtained with regards to the Wooster Group  I watched clips of the Wooster groups work on YouTube to influence and develop my acting skills.

Bibliography 

Auslander, P., 1997. From Acting To Performance. Abingdon: Routledge.graphy

Thewoostergroup.org. 2020. THE WOOSTER GROUP. [online] Available at: <https://thewoostergroup.org/blog/> [Accessed 1 June 2020].

During my research I have developed my acting skills from reading Auslander’s book From acting to Performance and The Routledge Companion to Theatre and Performance By Jen Harvie.

A prime example of the research I obtained from Auslander’s approach to post-modern performance is in the The Routledge Companion to Theatre and Performance book.  For example,  ‘Phillip Auslander has argued that postmodern performance does not aspire to be a political theatre; rather he argues, it is a ‘resistant’ theatre with politics, aware of its political and ideological effects but not necessarily making an explicit argument because it does not assume this is possible’ (Allain and Harvie, 2004:232) . From my interpretation the evidence suggests that Auslander is proposing that postmodern performance  does not represent political theatre which critiques on the political and social issues within society.  Instead post-modern performance is about being aware of the political and ideological impacts it has. Therefore as a performer I will consider both of the political and ideological effects within society and I will integrate this  during my character’s thought process .

In regards to my discovery that I obtained from Auslander’s From acting to Performance. I found the  Just be your self chapter to be beneficial during the development of my role . This chapter focuses on naturalism and the work of theorists such as: Stanislavski , Brecht and Grotowski. For instance, I found Stanislavski’s approach to acting to be helpful during the development process of my character  such as he states :’There is no question but the presence of the actor’s self as the basis of performance is for him the source of truth in acting: he defines good acting as acting based on the performer’s own experience and emotions’ (Auslander,1997:35)  From this information I understood to be a good performer within a post-modern and naturalistic production it ok to apply my own personal emotions and experiences that I have encountered in my life to the role of my character.

Bibliography

Postmodern Acting – Routledge Performance Archive. [online] Available at: https://www.routledgeperformancearchive.com/browse/subjects/acting-actor-training/postmodern-acting [Accessed 15 May 2020].

Auslander, P., 1997. From Acting To Performance. Abingdon: Routledge.

I utilized the Post Dramatic theatre book by Hans Thies Lehmann to discover information about post modern acting  and this helped me with the development of my character. I also obtained research from an online article on post modern acting from the Routledge Performance Archive website which also helped expand my knowledge about post modern acting.

In regards to the research I obtained from the Routledge Performance Archive on postmodern acting. I understand that ‘Postmodern acting has interrogated the idea of a unified subject and individual agency in a variety of ways. Its avoidance of characterisation means it is often understood more broadly as performance.'(Routledge,2020) This implies that post- modern performance resides around a specific joint together topic  and it requires you to have a unique and complex approach with regards to characterisation.

From reading Lehmann’s book on Post Dramatic Thetare. I undertand that ‘the actor of postdramatic theatre is often no longer the actor of a role but a performer offering his/her presence on stage for contemplation (Lehmann,2006:135).  The evidence suggests that as a postmodern actor it requires me to devote myself to the role of my character  both physically and mentally so I am able to portray the character to the best of my abilities.

Furthermore, I  understood that is important to distinguish the terms of acting and not acting.  For example, ‘Michael Kirbyhas coined the terms ‘acting’ and ‘not-acting’ for this, including an interesting differentiation of the transitions from ‘full matrixed acting’ to ‘non-matrixed acting’. Beyond the technical differentiation, his analysis is valuable because it brings to prominence the vast terrain ‘below’ classical acting. ‘Non-acting’, theone extreme, refers to a presence in which the performer does nothing to amplify the information arising from his/her presence’ (Lehmann,2006:135) I found this information to be useful as I understand that as a  postmodern actor you are not necessarily required to do anything on stage for your performance to be effective to the audience. Also, this information developed my   understand because one of the significant aspects of being a post-modern actor  is to distinguish the line between fiction and reality. This is so the audience aren’t able to identify whether the actor is being themselves on stage or embodying the role.  For example,  ‘Not being integrated into a play context, the performer is here in a state of ‘non-matrixed acting’. For the next stage, ‘sym-bolized matrix’, Kirby refers to an actor who as Oedipus has a limp. He is noticing the limp, however, because a cane shoved down his trousers is forcing him to limp. Thus, he does not mime limping but only executes the action(Lehmann,2006:135).  The evidence implies  that post modern actors may do something deliberately badly  such as shove a cane down their  trousers so everyone can see which shows that they are acting rather than attempting to pass of their performance off  as realistic.

Bibliography
Lehmann, Hans-Thies. Postdramatic Theatre. Routledge, 2006.

Postmodern Acting – Routledge Performance Archive. [online] Available at: https://www.routledgeperformancearchive.com/browse/subjects/acting-actor-training/postmodern-acting [Accessed 15 May 2020].

Postmodernism is a significant element Caryl Churchill uses within her book of plays Blue Heart of Hearts Desire and Blue Kettle . Therfore I have conducted research into post modernism using The Routledge Companion to Theatre and Performance by Jen Harvie and Paul Allain. I discovered that postmodernism is an assortment of cultural practices, architecture, criticism and sensibilities that have evolved since the 1980’s and that reject some of the apparent certainties, or ‘ grand narratives’ of modern paradigms of thought. With that being mentioned Postmodernism embodies the departure from  modernism and is characterized by the self-conscious use of earlier styles and conventions, a mixing of different artistic styles and media, and a general distrust of theories. Also, post-modernism explores how meaning is always multiple contingent on contexts, audiences and makers(Allain and Harvie,2004:231).

Furthermore, I discovered that in theatre postmodernism rejection of apparent certainties takes various forms.  It is identifiable in movements away from text-based theatre which aims towards the potentially more democratic devising methods practised by Split Breaches and Robert Lepage and the playful and destabilizing approaches to identify that are characteristic of much performance art(Allain and Harvie,2004:232).

I also discovered that postmodern performance is usually easy to identify. This is because its effects are widely discussed. For its advocates, it is democratizing since it challenges elitist, universal assumptions, and it is often thrillingly pleasurable in its lively abandon of the familiar, its renegade engagement with a variety of  source materials, its exuberance and its humour. Moreover, the debate that surrounds postmodern performance’s effects make it visible that it questions representational practices by has by no means settled them. Post modernism is a term that’s is used with less frequency in the twenty first century, when much of what it meant to capture is now embraced by post dramatic theatre(Allain and Harvie,2004:233).

Bibliography

Allain, P. and Harvie, J. (2006). The Routledge companion to theatre and performance. London ; New York: Routledge, Taylor & Francis Group.

I obtained research into both naturalism and realism from Paul Allain and Jen Harvie’s The Routledge Companion to Theatre and Performance . This because Caryl Churchill bases her work from both elements of naturalism and realism. During my discovery I l learnt that naturalism and realism are similar in regards to context and the themes they represent. For example, naturalism and realism are aesthetic and literary categories; however, within theatre they are classified as artistic movements that portray real life on stage. Naturalism is often used as a tool to create realistic and authentic characters, narrative action and the plot of the play. I also discovered that naturalism and realism are both genres that are very artificial conventions. This is because their well established techniques and processes authorise the suspension of belief that is requested of audiences, and produce the imitation that is at their heart. (Allain and Harvie, 2006:215-217).

With that being said naturalism and realism are both interchangeable  with only a narrow difference between them. This is because naturalism gives more attention rather than realism to the social environment as an influence on character. In comparison to realism which usually proffers a more critical and less imitative or illusionistic aesthetic. Moreover, these differences are very small and contentious to be valid with regards to  how we use them and it is too complicated to succeed the consensus on this subject (Allain and Harvie, 2006:215).

Most significantly both realism and naturalism are both founded on the premise that art should hold up a mirror to nature, a once revolutionary concept. This requires a mimetic method of representation, influencing in the part of the logic of narrative structures and staging insinuated by Aristotle’s unities of time, space and action (Allain and Harvie, 2006:215).

Furthermore from my discovery I learnt that writers and artists utilise naturalism to expose on stage the minutiae of social life, presenting families in real contemporary situations. Such as in Anton Chekhov’s play The Cherry Orchard (1904). Another example of how naturalism is  manifested is  in soap oreas and television programmes such as EastEnders and Emmerdale(Allain and Harvie,2006:215).

In conclusion to my discovery I have understood that naturalism and its history is complicated and it cannot be set against more experimental forms or explained in a  simple way. With that being mentioned naturalism still remains predominantly effective within theatre and the western world today and is still used to produce popular productions such as: Chekhov and Ibsen(Allain and Harvie,2006:215 .

Bibliography

Allain, P. and Harvie, J. (2006). The Routledge companion to theatre and performance. London ; New York: Routledge, Taylor & Francis Group.

Due to health and safety reasons because of  the  circumstances with  the coronavirus and the risk of its spread. We have all been instructed by both the government and the university to stay at home and work remotely.  As a result of this our group’s performance has been cancelled therefore, I have to do  an alternative individual  assessment as a method of responding to Caryl Churchill’s plays on either Hearts Desire or Blue Kettle  . This assessment requires  me  to write a play and I choose to base my production on the play of Hearts Desire as I felt  that this play resonated with me in the best way possible.  During  this process I have created a list of rules that I will follow throughout the development of my play. For example, some of the  rules require me to write in a  post modern and naturalistic style which is the writing Caryl Churchill uses.  I will also be including a various amount  of resets within my play as  a method of  reflecting on Caryl Churchill’s dramaturgy as she implements resets within Hearts Desire.

I have attached my list of rules to this document for the modifier to view.

[embeddoc url=”https://eportfolios.roehampton.ac.uk/baileym31/files/2020/05/List-of-rules-for-production-2-play-Monel-2.docx” download=”all” viewer=”google” ]

This was week 4  of the production project module. Since it is  still early in the process of the module as a group we were  still discussing about the process of our production and both Jonathan and Bruce from the technical team did a workshop with us to present an overview of the design and technical process for our  groups production. During this class we did our regularly warm up routine  where  each member of the class has to instruct the class with an individual warm up. Furthermore, during this lesson we did a creative writing  task that required each member in the class to write a sentence each, then  afterwards we would  fold  the paper so it is concealed, then we would pass the paper on to the next member of the class and repeat this cycle for a various amount of time . The purpose of this exercise was to stimulate and enhance the groups imagination with regards to producing ideas for our production. Personally, I felt that this exercise was beneficial and had a valid purpose. This is because this exercise allowed me to improvise, think imaginatively and work under pressure which are all beneficial skills you need as a performer . Finally during this class we had  discussions and did workshops around anti-realist and postmodern narratives. we also  discussed about the logical personality which is a specific ideology that can’t be rationalised, proud and explained. It is similar to post-modernism.

This image demonstrates the creative writing task I did in class.

This was the first lesson of  the production project 2 module. In this lesson we introduced ourselves and discussed about our individual previous experiences from the last time we did the production project module. Furthermore, during this lesson I had to create a list of positives and negatives ways of working . The purpose of this exercise was to understand what was required of  us working  together as a company.On Thursday 30/02/2020  the class recapped on the reading task which based upon exploring the project and building ensemble which means  building an effective team.  The purpose of this was for us to understand and distinguish  the responsibilities we are accountable for whilst working as a company.Also during this session we individually designed a team building task of our own.  The task I created was based around catching a person which is significant because it allows the group to trust each other.Lastly,  during this session we produced a group contract which validates and confirms our commitments to the production.

This was the third week of the production project module. During  this week myself alongside other members of my class were assigned to work in a group and  produce a  workshop presentation on Caryl Churchill’s work of plays. I was assigned to work with Ben, Jake,  Anita , Claudia and Lucy. Together we produced a workshop on  Carol Churchill’s play Cloud 9 and we presented it  to the class on the 13/02/2020.From obtaining research on  Cloud 9 I understood that Cloud 9  is a two-act play written by British playwright Caryl Churchill. I also found it was  workshopped with the Joint Stock Theatre Company in late 1978 and premiered at Dartington College of Arts, Devon, on 14 February 1979. The two acts of the play form a contrapuntal structure.The purpose of my groups  workshop was to educate the class  and obtain a better understanding  about Carol Churchill’s writing style and her thought process with regards to producing plays. Our group’s presentation lasted for an hour and within this time we provided the historical context of the play, presented the key elements, and  conducted a various amount of informative and interesting exercises which corresponds with Cloud 9 and  reflects with  Caryl Churchill’s dramaturgy. Also, we performed a scene from cloud 9 and this was done by myself and Anita. The purpose of this reenactment was so that the class could envision what cloud 9 appears like in theatre but also to have a better understanding of the production.

These images represent the development process myself and my group took to create our presentation on Cloud 9.

On Thursday 20th of February the class took a trip to the Bridge Theatre to watch a play called A Number. A Number  is a play that was established in 2002 and written by Caryl Churchill and directed by Polly Findlay. The play is based around the subject of human cloning and identity. Its  is set within the future time frame and the narrative is based upon the conflict between a father and his sons which are clones of the first one.  In regards to my experience I found whilst at the bridge theatre. I have the perspective that  the Bridge Theatre is a modern and contemporary theatre that obtains a vibrant and positive atmosphere. This is because whilst I was at the Bridge Theatre it was very busy since there was a lot of people and the performance seem to have been sold out. With saying that the seats were incredibly uncomfortable since there was not a lot of space or leg room for myself and the other people around me. Overall,  I  found my experience of the performance to be a unique and distinctive experience  because I have never watched a performance by Caryl Churchill before. For example, there were specific moments in the play were I felt confused especially because the stage was constantly rotating between the transitions of changing scenes and also the fact that one character was able to play a multiple amount of  different characters as he was only one of a number of identical copies. This made it difficult for me  to distinguish the identities of the characters which left me feeling somewhat confused and overwhelmed at times. With that being mentioned I found  A Number  to be beneficial since it allowed me to have an authentic experience and an  insight of post modern and naturalistic acting.  Therefore, I found this to be relevant in regards to my research as  I could use the same skills within the development of my character.

The image below represents the ticket from the Play A Number that I have kept as a souvenir for my own personal memories.