• Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

Exploration of Drama & Theatre Within Blood Wedding & The Woman Before

Extracts from this document...

Introduction

Exploration of Drama and Theatre Over the last 5 months as a class, we have been exploring the plays "Blood Wedding" by Federico Garcia Lorca and "The Woman Before" by Roland Schimmelpfennig. Through the methods of various practitioners, group discussions and solitary research I feel I have investigated both plays to a great depth. Response to Practitioner The play "Blood Wedding" lends itself extremely well to the works of the practitioners Constantin Stanislavski and Artaud. Within our class we explored how the more surreal scenes could be developed further by incorporating Artaud's theories of sensory deprivation and non literal sounds. Artaud liked placing his audiences in the centre of the theatre, with seats that could turn and enjoyed engulfing and overwhelming his audiences with a massive accumulation of effects. I played on this by selecting 5 audience members to sit in a small circle facing inwards and blindfolding them (sensory deprivation). By removing their ability to see, every action would be a surprise and would evoke a sensual and involuntary response rather than detached and intellectual; something which Artaud aimed for in his performances. When creating more naturalistic scenes, I developed my characters using Stanislavski's theory of emotion memory and given circumstances. I first analysed the text to deduce my character's main emotion in the scene I was enacting and then thought to a time in my life when I had felt a similar emotion. This allowed me to sympathise with my character much further and in turn, make the audience believe in my performance as the emotions I displayed were true, real, raw emotions and came from the heart. "The Woman Before" on the other hand is a very different play. The script feels very naturalistic with the only surrealism coming in the climactic scene. I decided to use the theories of Bertolt Brecht to help the audience to understand the otherwise dauntingly difficult, leaps in time. ...read more.

Middle

When designing my set for my performances, I remembered to keep this in mind and in turn made sure that all climactic moments were highlighted with a red light. I decided to use a standard proscenium arch stage with raked seating in all but one of my performances in which I sat five blindfolded audience members in a small circle facing inwards with the rest of the audience members seated in rows facing the stage. I think this increased the voyeuristic feel for those watching as they could not only see the action but also see the reactions of the blindfolded audience members. For the five with hindered sight, they had to rely on what they could hear and feel alone, thus making our vocal performances even more important. We incorporated non literal sounds to compliment the sensory deprivation, two Artaudian theories, whilst also reading segments from one of Artaud's poems that complimented the text of "Blood Wedding". We also looked at ways in which we could deliver our lines, experimenting with such techniques as canon, chanting and repetition. We settled on the Use of chanting as it had quite a daunting effect on the audience when combined with the lack of emotion displayed in our faces. In one "The Woman Before" workshop, we were challenged with the task of creating the final scene using only our voice as the audience would have their eyes closed throughout the performance. To start the scene, I began by opening the stage curtains, this worked on two levels as it is a sound associated with the beginning of a play whilst at the same time, it also worked at the first sound heard in the scene: the drawing of shower curtains. As the action in the scene picked up, so do the pace of our breathing. Our breath not only quickened but deepened, creating a sense of fear in the audience as we closed in on them slowly. ...read more.

Conclusion

Vocal Awareness Within a small group, we were given the task of analysing a small section of the lullaby in "Blood Wedding" and investigate how we create the greatest effect from the section we had been given. Throughout the course of the workshop, we experimented with a variety of vocal techniques, one such being canon. With four lines to recite and four members in our group, this seemed like the natural option and worked with great effect. Canon is primarily associated with children's playground songs ("London's Burning" etc.) and therefore we used high-pitched squeaky voices for the first part of the performance. This was then countered by the gruff, monotonous slur of the lines repeated simultaneously. The juxtaposition of tones resulted in quite a haunting effect with what appeared at first like something as pure as a nursery rhyme ("Wedding") ruined by the groans of the repeated lines ("Blood"). This therefore kept in line with our interpretation of the play as something pure being tarnished by something unholy. With "The Woman Before", I experimented with how the tone of my voice could help to convey a sense of panic to the audience. As the character Andi realises that he may have murdered an innocent woman, fear, worry and ultimately panic begin to settle in and my challenge was to let these audience understand the emotions I was feeling in a non explicit way. I began by trialling different volumes and found that the more panicked I became, the louder I got until I was almost barking out explanations. I also found that by contrasting the loud shouts with a softer, higher pitched voice helped to show Andi's innocence and youth and his fear of retribution. Overall, I preferred working with "The Woman Before" as there was a wider variety of emotions that each character could display through their voice alone. ?? ?? ?? ?? Sam Kimish AS Drama & Theatre Studies - 1 - ...read more.

The above preview is unformatted text

This student written piece of work is one of many that can be found in our AS and A Level Plays section.

Found what you're looking for?

  • Start learning 29% faster today
  • 150,000+ documents available
  • Just £6.99 a month

Not the one? Search for your essay title...
  • Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

See related essaysSee related essays

Related AS and A Level Plays essays

  1. How does Bennett develop the audience's response to Muriel and her family in 'Soldiering ...

    it' This shows the audience that Muriel is starting to doubt her son but shows she does not want to and puts it down to Ralph not mentioning it rather than her own son playing her for a fool. Giles almost seems to be jealous of how Margaret was the favourite over him with regards to Ralph.

  2. Drama Portfolio - Too much Punch For Judy

    It is a wrong decision. Their mother, played by Amanda warns Hayley to look after her little sister Sally. While they are out, Hayley accidentally gives Sally an ecstasy pill. Hayley doesn't know that this has happened, and her mother knows before her.

  1. Analysis of a physical theatre performance - Under the Influence

    The words and body movements were to symbolise her having sex and therefore losing her virginity. I also thought that the shoe could represent love. She had been searching for love all her life and when she finally saw it she went to grab it but it disappeared and she was left with an illusion.

  2. Stage Drama - Jack Davis' play No Sugar

    Suffering and misery also arises from the often negative effects that they have on each other. It is through Jack Davis' particular use of character that the drama is enhanced, humour is created and sympathy is felt for the sad interaction of their simple lives.

  1. The Caucasian Chalk Circle - Bertolt Brecht Ayla Schafer

    He had stuffing in place of his stomach giving him a very large belly, which exaggerated his posture and he almost looked like a Father Christmas type figure, very jolly and carefree. His hands were always occupied because he was always eating something, normally pickled gherkins out of a paper

  2. contextulaising the play blood wedding

    In Spain, Lorca was confined to certain guidelines due to the politics. This meant that Lorca was unable to express himself as much as he may have liked; and this could have affected the way Lorca wanted to express himself.

  1. GCSE Drama: Portfolio of Evidence. Task 1: Response Phase

    We decided on an interesting storyline including Choman and her family duties. She is sat at the table eating diner with her parents and she is being told that she is expected to go to a family party on Saturday night but as they are telling her this her mobile phone rings.

  2. Too much punch for Judy.

    Mum: Johnny listen to me (he turns to her) last night Jo and Judy had an accident, Judy was driving and she is ok. She's downstairs just having a rest. Johnny: what about Jo?? Is she ok? Where is she? (Mum stands and turns so her back is towards Johnny)

  • Over 160,000 pieces
    of student written work
  • Annotated by
    experienced teachers
  • Ideas and feedback to
    improve your own work