SPOOKTACULAR FRIGHTSTIVAL

What is devising?

Devising is creating a performance from the ground up as a collective. Starting with a foundation, a team of creative artists develop and create a show, usually in regards to a given stimulus. The group of actors, directors and technicians will strive to produce an original piece will conveys their awareness of their choice picked including: social, political or cultural topic.

“Everything moves. Everything develops and progresses. Everything rebounds and resonates. From one point to another, the line is never straight.” – Jacques LeCoq (Devising Theatre - Drama Resource)

The following 5 stages of devising are merely used as a guide to construct an imaginative piece with a sense of time, allowing me to be prepared but equally enabling creative freedom in the book ‘Drama Games for Devising by Jessica Swale’.

· Stage One: Preparation – Allow the theatre to become a comfortable and engaging environment to improve teamwork, communication and the ability to physically prepare my body.

· Stage Two: Generation – Begin to create a stimulus and allow the team’s ideas to flow and flourish as I take them on and attempt them.

· Stage Three: Exploration – After discussing, the teams choose the ideas which motivates them, then they begin to envision the story line, characters and story elements.

· Stage Four: Distillation – With a base, the team structures the story and behaviour in which the character act towards each other. At this stage, the performance should be almost ready.

· Stage Five: Presentation – The audience is now the focus. The actors should now begin to think of their character’s characterisation in more detail, this should include: voice work, movement, stage presence and overall performance. And Action!

What is the project?

Our given stimuli were to create a Halloween performance to support Gloucester Welcome Refugees. Initially, I was anxious about my ability to contribute due to my inexperience in performing in either a escape room or walkthrough as well as being my commission ever from a charity – we ended up doing a ticket based hybrid of both. On the other hand, this calmed my nerves since I had previously successfully completed an Alice in the Wonderland inspired escape room. Overall, I determined that I would do best contributing by adding atmosphere in aesthetics ways to the area rather than creating puzzles. Since receiving this commission, I decided to do some research on Halloween based escape rooms and walk-throughs such as Alton Towers and Thorpe Park along with other topics that inspired the story.

Trailer for Jungle Escape

In Thorpe Park, there is an escape room called Jungle Escape. The scenery on the walls (plant life, arrows and overall terrain) heavily inspired me to create a piece in which it would influence the audiences' reaction - it would create tension and add to the already eerie atmosphere which would also possibly create a story enabling Miss Maggie's to seem more believable. As the story of Miss Maggie's developed, I was able to compare the experience of traversing through the Jungle Escape to Miss Maggie's - could I do this to help a story come to life? Similarly, one of our classmates, Misty had already thought out two puzzles which I decided to link to Jungle Escape. Complete a trail/puzzle and you move on to the next room.

FNAF Movie Trailer 2023

The long awaited horror movie FNAF was yet another big inspiration for our escape room. The possibilities of devising the different rooms could be endless, however we decided to produce the escape rooms to be interactive as it allowed us to keep the audience always on their feet and attentive. Marketing-wise, making Miss Maggie's FNAF inspired seemed to be a good idea since there were so many people already interested - this would be a cheaper option to enjoy their Halloween. Additionally, the use of jump scares and timers would allow for a steady flow of people coming in as we wanted to make sure we got as many people donating as possible. Personally, due to previous experience in the Alice in the Wonderland themed escape room, I was further motivated to have timers as this would create tension and have their brains racking.

Miss Maggie's Toy-Box

The audience come into an abandoned factory named Miss Maggie's Toy-Box, by completing a series of puzzles and escaping a series of unnatural beings they shall be set free. In the 1960s, the brothers Eddie and Ernie created Miss Maggie's in hope of giving children a place to enjoy their livelihood. However, after a series of unfortunate events the brothers mysteriously murdered several kids and even their co-workers. The aloof guide and daughter of Ernie O'Driscoll, Nancy O'Driscoll comes to the rescues of the unknowing audience. To escape Miss Maggie's they must solve three rooms: the toy room, the train room and the mannequin room. The first two rooms had both two puzzles, each only 15 minutes to solve, the last room 15 minutes also but their mission was to find three keys located around the room if successful they were set free by Eddie O'Driscoll daughter, Margaret.

Strengths and Weakness in Movement and Devising

Weaknesses: Posture & Improvisation

Sphinx Stretch

Stretches the spine, buttocks and chest

Child's Pose

Stretches the latissimus dorsi (muscle in your back)

Seated Spinal Twist

Stretches the hip, glutes, shoulders and neck

Why is improving posture important?

As well as being able to control my balance and mobility of movement in all my affected joints, it also ensures that I am less prone to accidents e.g. strained muscles, tendons or even sometimes broken bones. Acting-wise, being poise aids in maintaining a connection with another character on stage, equally being able to portray body language as it influences the audience in a psychological level e.g. relationship between the characters and levels of control. It's a way to communicate to the audience an emotion or tension without speaking.

Commedia Dell'arte - Improvisational Skills

During my workshop, I decided to tackle my improvisational skills. The ability to improvise is something that I deeply struggle with, however with the use of stock characters (stereotypical characters that can be easily pointed out within a genre) I was able to create a game in which I could comfortably explore the Commedia Dell'arte technique. One of my exercises included people picking out a stock character and delving into a scene (cinema) without any preparation or pre-discussion, this allowed for complete creative freedom towards the characters and how the scene would play out. Overall, I think this experience immensely improved my confidence and adaptability - this would help me in the escape room since I had to adapt to the different audiences' reactions towards me.

Strengths: Flexibility & Use of Space

Standing Forward

Stretches hamstrings and spine, releases tension

Butterfly Stretch

Loosens inner tight, hips and knees

Sleeping Swan

Opens up the hips and releases tension in the lower back

Knee to Chest

Reaches your quads, lowerback and hamstring

Why is flexibility important?

Overall, it improves with a larger range of movement besides maintaining flexibility allows me to move my joints in possibly irregular motions which further improved my characterisation skills during Miss Maggie's. With these exercises, I could perform as a shadowy figure while ensuring that I am not injuring myself, on the other hand these workouts are known to relieve stress and calm a person down. Having good flexibility allows me to be a great asset since I am more likely to be able to perform a variety of techniques and different styles of acting.

Commedia Dell'arte - Improvisational Skills

Another section I wanted during my workshop was use of space. I decided to train to sustain my use of proxemics hence the importance of ensuring that audience can see everyone on stage. Additionally, the proximity between the characters' relationship e.g. a person further away would show a disconnect or dislike between two characters, on the other hand if the characters are close it could convey a sense of a closer bond. During my (a shy nerd) scene with Hollyanne (a obnoxious vlogger) clearly shows the estranged relationship between the characters. Moreover, Hollyanne's character takes up more space using hand gestures showing her lack of social awareness in comparison to my character's poor posture portraying my reaction in this situation.

All The Workshops

My workshop

Misty Coates Workshop

Sam Gwilliam Workshop

Basia Klimek Workshop

Practitioner Practise

Commedia Dell'arte Workshop

Commedia Dell'arte initially began in Italy in the 16th century, it's widely knows for it's use of masks and improvisation, as well as it's stereotypical characters e.g. servants (Arlecchino, Colombina), masters (Capitano, Dottore, Pantalone). However, the most clear characteristic is a single part of the body is what they lead it, for example: the Capitano leads with his chest, Dottore leads with his stomach and Pantalone leads with his nose. The use of stock characters in Commedia Dell'arte has metamorphosed into a more modern version as famously known, Arlecchino is Harlequin. Through the style of Commedia Dell'arte, devising has flourished as it's base can be introduced with various characters, improve a performance during the development. Out of all the characters, I would have to chose Pantalone as the closest choice due to his posture and behaviour the rest as well as my character leads with the nose when I'm not moving.

First discussion - what is Commedia Dell'arte?

Grab a ball in a Commedia Dell'arte character (Capitano)

Improvise a scene using our respective characters

Improv a scene with a character of Commedia Dell'arte of our choice

Laban Workshop

Laban movement was introduced in between the 80s and 90s - it helped improve and develop characterisation through the use of body language, gestures and general body movement, this further constructs the base for a character during the beginning steps of devising. To develop a character's physical movement using Laban, the Eight Efforts would be included:

Dab: direct, quick, light, bound

Float: Indirect, sustained, light, free

Press: direct, sustained, heavy, bound

Wring: Indirect, sustained, heavy, bound

Glide: direct, sustained light and free

Punch: direct, quick, heavy, bound

Slash: Indirect, quick, heavy, free

Flick: indirect, quick, light, free

Laban Technique in use

Discussion of Glide and Wring

Laban Technique

Past vs Present using Laban etc. Float

Frantic Assembly Workshop

Frantic assembly are a physical theatre company who specialises in devising a movement in which would not usually be possible/ inhumane e.g. walking on the wall (this uses a lot of strength and trust), leading another person's hand (possibility of closing eyes) and lifting people up, this would often give the illusion that only the person being lifted was there as if they were flying. This helped me creatively since I had more reassurance that we could create a successful performance from nothing as I had done for the newspaper - even dabbing it with tea bags to give an old and ruined effect, ultimately spraying it with fake blood.

The Seven Levels of Tension

My character's level of tension change throughout the time of the audience in the room depending of how they react. When the light is shone on me, my level is 7 - I don't move as I am startled and anxious. However, when the light is not shone on me, I tend to move more freely although with some tension, this would drop me to a 4. My character changes it's levels of tension consistently with the audience's reaction. However, when I am charging at the audience I rise again up to a 6, I believe this would leave the audience fearful and keep their hearts racing. Due to my previous experience, I strongly believe a quick paced and unnatural environment is effective to keep the audience entertained through and the Seven Levels of Tension influenced my decision of my character's movements.

Jacques Lecoq

Jacques Lecoq was a French actor was heavily influenced the potential of devising when he introduced the Seven Levels of Tension. The different levels allows the actor to explore their character's behaviour and how it might change through the scene/ play or event. It's more often than not a guideline to aid the actors in devising their characters physical movements. These levels include:

1) Catatonic - Zero tension whatsoever, the body is carries itself with little to no effort.

2) Laidback - Everything you do is very relaxed, a very clear picture that you are relaxed

3) Neutral - As you would move on your day-to-day life. Not fast, not slow. Completely regular.

4) Alert - Picking up the pace, a lot of decisions but no time to make them. Always on the move. Cautious.

5) Suspense - Something bad is about to happen, clearly a lot of tension inside building up.

6) Passionate - The tension is released with no warning. Negative emotions flow and it's difficult to contain. It's all very dramatic.

7) Tragic - The body is completely tense and the body can't move or speak. Scared beyond belief.

History Behind Devising

The history of devising can be traced back all the way back in the Roman period of time. Fable is a usually refered to as a fictional story that includes animals, unnatural beings and innamitate objects - this normally led to a lesson to teach an audience. Another contribution to the history of devising is the popular Commedia Dell'arte. Commedia Dell'arte is a style of acting that popularised the exaggeration of ensemble acting, the style of acting brought on a new sense to devising. The actors had to analyse as the characters represented everyone in society. The most visibly presentation of this devising piece was the masks, movements and language, throughout the piece the actors had to speak in gibberish but speak in a tone that would indicate a certain emotion or action. Similarly, the movement of the characters had to clearly demonstrate the personality of the characters e.g. Dottore, who leads with his stomach has power and uses it to his advantage or contrastingly Zanni would lead with his nose and is constantly curious, however a servant. Between the usually 3 minutes scenes, the actors would have to switch between interacting with actors on stage as well as the audience. Commedia Dell'arte influences the modern day even shown by Lion King as Mufasa (cunning and cruel) and the hyenas (servants and loopy) - Commedia Dell'arte gives us a base and an easy way to understanding and developing a character.

Joan Littlewood was another significant theatrical director as she promoted producing plays concerning the social issues for the working-class audiences. However, her popularity grew after the criticsm of WW1 as a play 'Oh! What a Lovely War' is summarised social realism, growing forms of technology and the traditionalist theatre - these are things that she was clearly interested previously and had been experimenting with. As a female director working a male dominated field in the 1940s, Joan Littlewood made a name for herself despite the fact that women were not treated equally or fairly. Similarly, Joan Littlewood represented the working class by respecting and appreciating their experiences, this gave them way to communicate their struggles - she'd do this by interviewing them in their living or working situation. In another aspect while people were doing hunger marches as a strike, the theatre approached it and conveyed it in a way that it would be entertaining. In relation to devising techniques, she also began taking interest in Stanislavski. She begins to delve into improvisation and techniques of devising by creating humour and interruptions, as seen before with Commedia Dell'arte.

In this day and age however, many theatre companies nowadays are devising and coming up with ideas to uplift people and give them a voice to raise awareness to sensitive subjets, bringing them to light. An example of this is the company AlterEgo Creative Solutions and the performance 'County Lines'. This devising piece is portrayed to bring recognition to child criminal exploitation specifically targeted to gangs and drug dealers. The basic set up effectively captures the audience to the movement/signs the actors show to manipulate the children and their naivety to the dangers of the situtation. Overall, the effectiveness of this devised performance is that it was local and transportable due to its minimal set and effectiveness in raising awareness to young people, which it was why it was shown in schools/ college making it equally an efffective way of communcating in a fun yet educational manner.

Extra Videos

Script Read-through

Production Meeting (Progress and Expectations)

Scare Workshop - Jump scares, behaviour and tactics

Meeting with commissioner - information on backstage work

Performances

First Run-through of Miss Maggies

A clip from the audience's perspective - second day

Testing Miss Maggies run-through (due to some absences, actors had to dual role)

Viva Voce

Viva Voce (Part 1)

Viva Voce (Part 2)

Meet The Cast!

Elijah Matos (Mannequin)

Sam Gwilliam (Ernie O'Driscoll)

Misty Coates (Nancy O'Driscoll)

Jay Greening (Jack in the box)

Charlotte Rich (Laurie Ann Williams)

Hollyann Freeman (Dinosaur)

Ryan Thorton (Eddie O'Driscoll)

In general, I thoroughly enjoyed devising the creation of this performance, equally, the audiences’ reaction was really quite thrilling and made the whole experience worth it. On the other hand, I felt a struggle in my confidence towards the project as I constantly felt like I wasn’t contributing enough.

Page updated

Google Sites

Report abuse