Performance Composition

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Siobhan Donohoe                                                Helena Goldwater

Performance Composition        

PERF2503

Reflective Analysis: Semester One

The words performance and performer are so often used in a various number of contexts that their true definition has, in a way, been diluted. Performance is essentially a disputed concept. It is also a complex and constantly shifting concept. One of the main things that I found challenging yet fascinating on this module is the exploration of the definition of performance and a desire within myself to define it. Our understanding of the term “Performance” has inevitably developed over the duration of the course and the consideration of this definition is where my creativity sprang from. At one point or another we are all conscious of playing a role. All human actions could potentially be perceived as a performance. Therefore, if you are conscious of yourself you are performing. Some people’s actions are carried out without thought, but when we think about them a consciousness is present and this is what equates them with being a performance.

The distinct conflict between traditional theatre and modern performance that was outlined at the beginning of the course caught my attention immediately. Traditional theatre centered on developing a dramatic role i.e. Shakespeare’s Macbeth and when devising a play in class I often took the same attitude and undertook a specific role or characteristic in my character. Whereas, In Modern Performance, work is not based upon a character but rather the performers own experiences or own bodies as a stimulus. This module emphasises this fact and it was evident in people’s final pieces. For example Katie clearly did not take on a role or character in her piece but she called upon her own life experience (Self-Harm) and her consciousness of this made it performative. So from the outset I was aware of a definite challenge present between traditional and modern performance and I found myself at a crossroads as to which one I was drawn too.

In the majority of my performance modules I have often struggled with confidence and stage presence. Afterall, if you do not have the required confidence deep down then your stage presence will also be missing. At times I am easily intimidated, especially among other performance students and I believe that this was sometimes reflected in my early practical work especially in Improvisation. Aside from this, my ideas and creativity in tasks compensate for this slight problem. Throughout the majority of my individual practical work, my strength of mind overcomes my other fears concerning the tasks set. One task we were set was to present an emotional piece, with a choice of shouting, singing, crying and laughing. Despite the simplicity of the task, I found this somewhat testing as it is an extreme display of emotion thus performing this would be exposing myself to the group. This was the exercise in which I realised how my lack of confidence would consequently inhibit my ability so as a result of this I had to alter my frame of mind when delivering these certain performances.

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One of the key aspects I learnt about performance composition is that every part of the piece is like a puzzle piece in a jigsaw; the small pieces make a big difference. A detail such as the set design is fundamental to the piece. Theatre in a word is Potential. It is an immense and changeable space which is open to experimentation and expression. Adolph Appia believed light, space and form were central to the piece itself. If the set is not used to its full extent and purpose this can change the overall meaning of piece. An element such ...

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