Act 1 slightly done...and this time, with platforms!

Description:

During Monday and Wednesday classes, we practiced our specific scene, in my case, the presentation of the demons. On Thursday, we tried the different platform levels placed in the theatre to act out the scenes. We intended to get used to it since we have not previously practiced with them before or adjusted our specific scene to that structure. Finally, on Tuesday, Thursday and Saturday we had the school play rehearsals where we developed the entire Act 1 that included the advance and improvement of the prologue, scene 1, 2, 3 and 4.

Analysis:

Finally, the platforms are here! During this week we officially have begun practicing with the different platform levels, but specially, getting used to them. Each platform represent the level of hierarchy of the characters in our adapted play of the Ramayana. The first and second platform represent the upper class. In the first platform, which is the highest one is where the throne is positioned, emphasizing the idea that the nobility such as Sugriva, Dasaratha, Rama or Ravenna are the only ones able to be there since they are considered superior since they are either kings or queens that belong to nobility. The second level also belongs to nobility, however not as superior as above. While, the low level is for the collective characters such as the monkeys, demons, Royal dancers and others. By using the platforms, we learned how to adapt our scene to the different levels since we have not had any previous experience with them. In addition, another thing we acknowledged was that we characters could not move to another platform since we do not belong to that level of society. We are not permitted to move to the other platforms unless we have a valid and coherent reason that supports the movement to a given level.

Demons, Demons, Demons. We are now getting close to the success of our character, well a bit there. In order to succeed in our characterization, an essential element is the VOICE, although it breaks one of Kathakali’s principles. This made me learn that although we are breaking just that single convention, we can still maintain the essence of Kathakali Indian theatre because we are still doing theatrical dances, mudras, kalaripayattu fighting strategies, not showing death scenes and others. Kathakali focuses on characterization and postures more than the dialogue and voice of each character since the message of the play is mainly transmitted with the use of mudras and body positions. Indrajit is the daughter of the powerful evil demon queen, Ravenna. Due to this, she has is the legacy and has inherited a similarity in Ravenna’s voice. While doing the exploration of voice, I attempted to modify my voice from my usual high pitch to a medium pitched voice. I must admit, it was challenging. However, in the overall, it felt quite satisfying feeling the sensation of success after they tell you your voice is now acceptable and better than before. From this, I learned that if I mix my voice and accidentally do a high-pitched voice, the audience would not be able to differentiate Shurpanaka from Indrajit since we would have very similar voices. It is true; I find it quite difficult being a young impulsive demon daughter that has to do a medium pitched voice while marking the r and s consonants. With a constant practice of my personal variations of the fury Indian face expression, the exaggerated tongue and torso movements joined with wicked and creepy hand gestures, and mudras; I learned that I could actually transmit to the audience Indrajit’s impulsivity by focusing in a majority on my body composition and movements whether than reinforcing the voice. However, the voice is fundamental for Indrajit, because without it, my character would be lost and not even slightly identified.

Connections:

For the construction of the trinity of evil demons; I mean Ravenna, Shurpanaka and Indrajit; we inspired ourselves and used as stimuli the evil trinity from the Harry Potter Saga that is conformed by Voldemort, Lucius Malfoy and Bellatrix. In my case, Bellatrix is the ideal role model for Indrajit since she is a crazy psychopath who is arrogant and wants to prove her power and abilities to perform evil spells to her master, Voldemort. While in the play, Indrajit by using her impulsivity and pride, she is motivated to constantly demonstrate her mother her capability of being the legacy of the throne. As well, she desires to prove her strength and power towards her mother Ravenna. Referring to the play, Ravenna would be considered as Voldemort since she does not need to do huge actions to destroy something; instead the slightest movement destroys a complete village.

Another connection that I made was that the presentation of the demons is quite similar to last year’s presentation of the evil witches because both create the same sensation to the audience: FEAR. As the same as we did last year, we must do a powerful entrance that frightens the entire audience even though it causes tears (like last year).

Reflection:

By being in this week’s rehearsals, I noticed that some demons are still lacking the consistency of the fury face expression taught by Carlos. A main error I have perceived from these rehearsals is that they specifically loose it while they say their collective lines. This taught me that, as actors, we need to constantly practice the physicality of our character, repeat constantly our lines while linking it to the adequate face expression in order to transmit better the intention of each character. In case of the demons, in order to transmit and cause the audience a sensation of terror, panic and fear; we cannot simply rely on the fact on our voice and boy movements, but instead, incorporate it with a furious facial expression to connote the idea of malicious demons. Always, in every play, movie; the evil characters MUST and HAVE to have an impacting introduction because if there is a lack of power I the entrance of the arch nemesis of the protagonist, the outline of the play, story or movie will lose importance and attractiveness.

This leaded me to one single question that has been haunting me. How can we make an impacting entrance of malicious and wicked demons if the same demons lack characterization? It is a huge issue that characters do not have the exact fury face or actually cause fear instead of making the audience laugh of the goofy face expression they are doing.