The Weekend: Day 2

Day 2

After the previous night, we had worked out that all of the characters were in pairs. In my pair there was me and the wife of the man that I had murdered. We worked out that I was the only one in the pair that knew that we were a pair. We discussed our two stories and found that my partner thought that there was no reasoning behind what I did but we came to the conclusion that she was just to oblivious and didn't even know that her husband was abusing their child.

We had to make a moment of orientation, which is part of Stanislavski's methods, between our two characters and we chose a court scene. It was set years after the incident and my character had been found out and was being put on trial for murder.

We found that this scene was very hard to explore because in a court there is specific language that has to be attained during a trial and there wouldn't be any subtext allowed in this scene because everyone is under oath and so has to tell the complete truth.

We swapped the setting to a police station in which the Wife had entered in a hysteric manner in search of the polic officer that had worked on her husband's case, which was my character. The wife was hysterical knowing that her husband was dead and was trying to get someone to notice her and help her. Again, like when we were in the cells, my character had another wave of anger knowing that someone could have such a close connection with a monster that had abused his child. So when the wife tried to ask for someone's help and try and have a connection with anyone. My character instantly rejected this idea and, physically and mentally, distance herself from the wife.

https://youtu.be/L9WkCQ__nq0

Improvements that I think could be added was that when I got pushed that was technically assaulting a police officer and so I think that I could have put her in a hold that would have made her instantly calm down and I would then be in control of the situation. If I had her in a hold on the table both the sound and the physical image would have juxtaposed the high energy from the first scene and then we could have gone in a threatening tone from my character.

Next we moved onto working on the opening of Antigone that we had made earlier on in the week. We wanted to add some of the movements that we had created over the weekend to the fight sequence so that it became more dynamic, sharper and cleaner. We added some of the hand and shoulder partner work that we had done and also making it look more like an actual fight.

We added the rule that we had to follow one end of the opposite persons stick and react to it. So in my pair, my partner's stick comes really close to my face and so with me looking at the end of her stick caused me to move my head out of the way, both to stop me getting hit and also to keep looking at the point on the stick.

I think that adding this rule and the new moves made a huge improvement to the whole choral movement as it looked like a fighting sequence; very frantic and a lot of people moving in different directions, and then a sudden pause when we circled each other. I think that this pause gives the audience time to take in what is going on. The juxtaposition between the frantic movements and the paused has an effect on the audience in which that they get the feeling of it being a fight and also shocking because they aren't expecting us to break out in frantic action. The movement is so frantic that the audience don't know where to look but the break in movement gives them a chance to take everything in before the movement starts again. The movement is choreographed so that it looks effective but not too frantic that the audience stop watching because it;s too busy.