"El Centro de Lima", an everlasting journey of production

Description:

In the course of our regular theatre classes on Monday, Wednesday and Thursday; we trained, developed and enriched scene 5 and 6 by discussing monologue choices and actually putting them into practice. While, in the school play rehearsals on Tuesday, Thursday and Saturday we developed and rehearsed the entire act 1 including scenes 5 and 6 of the second act. Saturday was a special day; half of the production team with the support of Gonzalo and Aileen went to Centro de Lima to search for the missing props, makeup elements and light jellows required for the school play.

Analysis:

From Capón, the barrio chino to zoladi, we accepted the quest and went in search of the missing props, light jellows and makeup we would be using in the school play. Many props were urgently required for next rehearsal such as the three cups and trays carried by the royal maids, Ravenna’s locket or in other words her source of power, Sita’s necklace which is the symbolic representation of faithfulness and fidelity, the fabrics covering the throne, the textiles used for the introduction of the protagonic characters and the cloth for the death dancers. Wow so many props in such small amount of time! Oh no! Wait that is not even half of what we are looking for. From my personal experience in a crowded atmosphere like “El Centro”, managing our time was the most difficult task of all. Let us face reality; we did not have to only find most of the props that were needed for the school play but also the light jellows and the makeup to begin the tryouts and official practices. We decided to begin with a design section and then continue with the next one and eventually the next one because or else our key factor was going to be lost, time. Because of this, we learned about specializing. We decided to concentrate in the purchasing of specific props, according to its importance and vitality in the play in order to avoid returning to the overpopulated streets of Parurro o Capón in the Centro of Lima. We had calculated that, in case we had no spare time left, we would have to have at least the elemental props needed for the scenes. That was because, or else, we were going to be held back by time.

We went to the barrio chino that had an exceptional range of Hindu shops to look for Ravenna’s locket and Sita’s necklace. By searching, I noticed that the items we found were not exactly like my visions of the props since they were lacking some fundamental features. Therefore, I learned how to adequate my vision to what we have found. I realized that not everything I imagined was necessarily going to be found. As a result, we searched for the props that mostly fitted my vision. For example, for Ravenna’s locket, we found large white and dark blue-gemmed lockets that included silver metallic decorations all around them. Although the form and style of the locket fitted perfectly to my perception of the locket, the main feature was still lacking, the red gem symbolizing violence was missing. Answers, resolutions and ideas were knocking our heads. “Should we paint them with red aerosol spray?”, “Perhaps, we can paint them with a dark red marker” or “What happens if the gem gets damaged by painting it with a red marker, will it still look alright and professional if its original color wasn’t red?”. This actually creeped us out, because as I said before, the key feature was still missing, the red fervent we were searching for. Instead, the gem was white, which perhaps, the audience can get confused since white usually symbolizes purity whether than rage, violence or a dark force. Whilst counting the dark blue was not a bad idea. In our color palette is true, blue symbolizes the good side, however the black twists the significance. The dark blue could maybe suggest a sinister power. However, I must admit! After searching, we found a bronze locket that had amazing designs incarcerating a small sized red precious rock. Although it was red, the closest founding to our proposal, there was one slight problem: The gem was not big enough! From that, I learned that although you find the color, the size matters. Since the power came from the rock, how could so many supremacy come from a minuscule rock, IMPOSSIBLE.

However, during our search of props some items found were missing vital features. In inclusive, some foundings were even better or had actually trespassed my original visualization of a selected prop. In the case of Sita’s necklace, I had imagined it entirely gold, where exquisite gold-plated pieces joined and beaded together. This necklace had to minimally include a big light green or blue gem in the center, accompanied with two smaller ones on each side that would match the color palette and her costume. In contrast, we found something even better; it was an abstract necklace that included gold beadings and many gems of different variations of green elaborated in a floral design. Therefore, this new acquisition fitted perfectly Sita’s costume and our Kathakali color palette. For our benefit, the necklace included a slight decoration used in the head and a pair of earings. Both of these had the exact decorations of the necklace, creating the perfect Indian packet. These included head decoration and earrings contributed more to Sita’s physicality since she has to seem as a noble and delicate Indian princess who is prestigious. By finding this necklace, a new prop was discovered which would contribute even in a higher scale with Sita’s physique. These were several gold narrow bracelets that are used in big quantities due to their thinness. According to previous Indian beliefs and cultural traditions, royal princesses used exaggerated decorations and jewelry to demonstrate themselves as unique and exquisite powerful people who live in a wealthy lifestyle full of nobility and greatness. From this, I learned that the props we listed were not definite since new props could be discovered. In addition, thanks to Aileen, she reminded and taught me how was the physical appearance of an Indian princess, where several exaggerated decorations and jewelry were needed to highlight her delicacy and gracefulness.

By buying the textiles used for the introduction of protagonist characters, the cloths of the royal dancers and the fabrics for the imperial throne, we discovered and learned three main elements that must be taken always in count when buying fabrics. Firstly is the light effect on the cloth. We needed to ensure that for the royal throne, the fabrics didn’t shine too much because our purpose was that the fabrics needed to decorate the throne, look like actual “terciopelo” in order to show the audience that being in the throne meant you were on top of the hierarchy pyramid and had a major influence upon the rest. The other factor token in count when buying fabrics is its transparency and weight. The cloth could have either a solid opaque color where light rays cannot pass through or the opposite, a clear type of cloth that can help with the flow and movement of the cloth itself. Referring to the textiles used for the death dancers, we needed to find a black easy flowing cloth that would let the same dancers, control the movement of their cloths. In order for it to be free flowing, the textile had to be transparent and light weighted for the death dancers to have more control upon them.

Reflection:

After going to the Centro, I learned that the time must be controlled and managed efficiently if you want positive results, and especially, if you want to finish with the eternal list of materials you need for the school play in less than one month.

Prioritizing. Specializing was in matter a fact, a major lesson we learned when going to the Centro. By going to purchase the different props, we became organized and aware of taking critical decisions on the purchasing of props. We reached the decision, which was to buy the props that were vital and essential for the play at this moment.

I would like to question the following:

What do professional directors and producers do if they do not find an exact prop that does not satisfy their original vision of it? Do they just replace it with a similar prop but that has a slight change since they could not find anything? Because perhaps a similar object can be changed, but if it does not coincide with the color palette that reflects their entire concept, than what do they do? How highly does it affect the outcome of their play?

Its all about PROPS

Description:

During class, on Monday we scheduled the timetable for the rehearsals. On Wednesday, we had our proposal decision regarding the title and poster design of our school play. We reached to the conclusion “Los hilos del destino” a concept that is present through our whole adaptation of the Ramayana. On Thursday, we discussed on the scene 5 and 6 proposals and Anita did makeup tryouts. As usual, on Tuesday, Thursday and Saturday after classes, we had our school rehearsals where we focused on the creation of scene 5 and 6. Whilst, on Friday we went to Yuyachkani and watched “cartas de Chimbote” based on the life of Jose Maria Arguedas.  

Analysis:

Yuyachkani establishes a deep connection with the legendary Peruvian indigenous writer Jose Maria Arguedas by representing the stages of his life throughout the use of props to evoke his presence in scenes. The actors by reading his letters, they interpret his intentions, giving the actual letter form and shape. But especially, by giving the letter shape, the letter comes to life and revives the spirit of Jose Maria Arguedas. In “Cartas de Chimbote”; Yuyachkani actors quote Arguedas but at the same time connect with him emotionally throughout the use of the letter. This is shown when the actors read out loud all his letters and re-act them. An example is when the actors portray Arguedas’ first attempt or consideration of suicide which occurred in April 1966. This depressed mentality and episode of his difficult life is highlighted in “el zorro de arriba y el zorro de abajo”, one of his novel. Augusto Casafranca and Julian Vargas performed Jose Maria Argueda’s novel “el zorro de arriba y el zorro de abajo” by using colorful masks that contained attached on the top, the corpse of a dissected fox while Rebeca Ralli sat down in the chair mimicking the letter of Arguedas she had in her hand. Yuyachkani by representing, literally the novel “El zorro de arriba y el zorro de abajo” they highlight the writing style of Arguedas that includes his autobiographic reflections and intimate confesions regarding his attempt of fighting against the approximating death he will soon encounter.  Both male actors personifying the foxes were saying the identical words of Jose Maria Arguedas’ regarding his suicidal thought by saying “Hoy tengo no tengo miedo a la muerte misma, sino a la manera de encontrarla” Throughout the use of this letter, the audience is able to presence the depressed spirit of Jose Maria Arguedas who has been severely shocked and affected by his childhood. Moreover, by also stating “Soy cobarde para el dolor fisico y seguramente para sentir la muerte” reinforces his fear of feeling the pain death gives, however, he never mentions he is scared of the death itself.

Towards reaching the end of the play, interesting props were used such as a white powder to perhaps represent the ashes of Jose Maria Arguedas; the table filled with candles litted, a picture of Jose Maria Arguedas, plates filled with avocados and corns and more. At the end, Teresa Ralli by pouring a white powder on Augusto Casafranca, whom at that moment represented Jose Maria Arguedas presence made the audience assume and also transmitted the idea that the powder perhaps could have been his ashes since the play was finally concluding with his death. Finally, by placing avocados, corns and a picture of Jose Maria Arguedas it caused an empathic effect on the audience since they lament the death of jose maria Arguedas. However, it caused a feeling of happiness since now they know that although a life was lost, “un demonio feliz, que habla en castellano y en indio” died happily ever after. As a result, these props accompanied with a happy quechua chanson, payed tribute to the life of the indigenous Jose Maria Arguedas who wished to have finish with his life due to the constant feeling of marginalization among the indigenous and the mistis world, the early loss of his mother, the absence of his father and the failure of his previous marriages.  

In terms of our play, with the used of distinct props we want to connote the diverse intentions of the characters. With reference to the locket used by Ravenna, it is considered as the source of infinite supremacy which makes her a terrifying and strong enemy every creature or human being is afraid of. Moreover, without the locket the demon queen loses her power; becoming useful, weak and vulnerable. To give significance to the locket, in parallel, it previously belonged to the divinity Kali, the goddess of destruction. Due to the power imposed by this locket itself, Kali lived in a constant state of cruelty, malice and unkindness.  A current example is that throughout the entire play, Ravenna will be using this huge worshiped locket to symbolize a sense of seniority and supremacy among others since she has the respected reliquary of Kali. However, when she is defeated by Rama, Rama will take away the locket from her to portray the idea of defeat. As a result, the locket wasn’t only a representative of the power of Ravenna but also a symbolization of the divinity Kali, the goddess of devastation and destruction. Therefore, by placing this prop we aren’t only reinforcing the power of Kali that Ravenna begotten as well, but, by using it, we are paying tribute to the goddess Kali, who is highly respected in Hindu religion and culture. Thus, meaning the incorporation of the locket fits perfectly in the standards of Kathakali theatre since the presence of gods were important features in Indian culture, which were transmitted in theatre.

 In addition, another powerful symbol that is used in scene 5 is the stick of Hanuman; it portrays his power over his monkey army. This is used when Hanuman talks to Jatayu, a mystical talking bird that leads him to the location of the imprisoned Sita. To direct himself towards Jatayu, he taps the stick to show respect and also power towards Jatayu in order to capture his attention. Then when hanuman gives his powerful stick to his two companions, he becomes slightly less powerful. Therefore this is shown in the wakening of the demons and the warning of Ravenna. Since he didn’t have his stick present in that moment, the demons controlled him and burned his tail.

Connections:

As well as our school play, “Cartas de Chimbote” also used minimal props. They decided to have specific choices such as the letters or the table with tributes towards Jose Maria Arguedas. Also, in the school play uses a locket and “cartas de Chimbote” uses a table with tributes. Although these propos are extremely different, they reach a common purpose which is to pay tribute. Moreover, both plays “Cartas de Chimbote” and “Edith Piaf” were autobiographical and reflected on the lifes of famous and highly recognized persons such as Jose Maria Arguedas, an indigenous Peruvian writer and Edith Piaf, a legendary French cabaret singer. After watching both plays, I noticed an interesting connection between these two unfortunate lifestyles which was that although they

reached the level of fame, depression and agony they suffered in their life were the key influences that encapsulated them, leading them to their deaths.

Reflection:

In terms of our school play and “Cartas de Chimbote”, both used minimal props which transmit different meanings. However, props still concern since most portray a similar concept: power. This made me reach to different questions regarding props. Since according to Kathakali, minimal props are used. To not break the convention and include more props to transmit different concepts that transcend in the play; how could I give a wider range of meanings to a single prop in order to avoid repetition of ideas? 

Edith Piaf: the legendary french cabaret singer

As the famous French cabaret Edith Piaf once said “To sing is to bring to life; impossible if the words are mediocre, however good the music”. Before vacations, on Thursday April 20th, we went to the Allianz Francaise in Miraflores to watch the legendary interpretation of “Edith Piaf”, the story of the French cabaret vocalist herself who became referred as France’s national diva and world widely, an international star. The play highlights the aspects of her personal life throughout the acting and lyrics of her songs, the suffering she passes through and the excitement of becoming a recognizable singer around the entire universe. 

Regarding the design elements, the use of lights were essential to differentiate the changes in time or for the focus upon Piaf’s chanson that reflected her sorrowful life. This is shown by using one of the light properties of contrast. Firstly, a light color palette of pink, red and yellow were chosen to contrast then against a blue and green color palette. Pale rose and yellow gelatins were placed on Fresnels. By turning them on and these illuminating the stage, these tints joined and created the perfect mixture, reassembling exactly an impeccable morning dawn. Then, in order to mark the change in time, blue greenish gelatins were used to reinforce the idea that now, the dawn has ended and the sun has rised and shined. Moreover, dim senital lights were used and directed towards a makeup table that Piaf interacted with, where she ingested the drugs. Additionally, these senital lights were used during the moments of tension, specifically, when she attempted suicide by consuming drugs and an excess of pills. Thus, to emphasize an environment full of tension and sadness since the grin reality of Edith Piaf was appearing, her dependency on drugs and beverages which leaded her to her own destruction, her death.  On the other side, red lights were used to evoke an atmosphere of violence and aggression as demonstrated in the assassination of Piaf’s adoptive father or the scene where Edith had to prostitute herself to cover her poor lifestyle. Contrast effects were made sin the 2^nd or 3^rd bar of lights were on with red gelatin fresnels. As a result, this created silhouettes of the characters. This was a perfect strategy since this immoral scene couldn’t been seen in public.

On the other side, various sound effects were used to produce hostile noises. A sound effect for the gunshot was used, the replica of a shot gun firing was echoed in the stage whether than showing the actual assassination of the adoptive father that gave her a prestigious job opportunity. Despite the murder itself, the fact of actually not showing it caused even more tension and mystery towards the audience since they don’t know who actually killed him or how, they just heard the irritating gun shot that took an innocent to his unexpected death. Also, by resounding the noisy airplane crush, where Marcel, Edith‘s one true love died, it conveyed a sense of destruction and decadence, especially, crushing poor Piaf’s beating heart. Therefore, by the use of sound effects, the directors decided to avoid the actual portrayal of death scenes and place emphasis more on the sounds that cause a deeper connection and sensation of misery to the audience. The sound effects helped the audience feel the moment, presence it and feel the pain the characters themselves felt when losing a beloved one.

                   

Finally, by the use of diverse costumes used by Piaf, her social status was proven to be changing in the years. This is shown when Edith, from a partial time prostitute that sung in streets recollecting money to cover her basic necessities turned into a well-known paid singer that was recognizable internationally by the world. She indeed became in France’s national diva. To transmit to the audience the unstable and poor lifestyle Edith lived before, she used sloppy clothes and untidy hair. Also, none of her clothing actually combined with each other. It seemed like if she used literally, the remainders she found in an abandoned closet. However, to show the drastic and positive change in her life, she changed completely and used black neat suits and skirts. As a result, these fancy clothing now used by a renewed Edith were the portrayal of elegance since all singer must be presentable, sophisticated and fashionable.

In terms of the acting skills, the actress Patricia Barreto who interpreted the legendary cabaret singer Piaf used varied face expressions to explore different aspects and moments in Edith Piaf’s monotonous lifestyle. Firstly, she used passionate face gestures while have intimate moments with her loved one, the boxer Marcel. However, her face passed through several stages of mixed emotions. After Marcel’s tragic ending, his death; Piaf’s career and happy lifestyle dropped to the ruin. Edith begun to feel incomplete, in a constant state of sorrow where she used exaggerated sad, melancholic gestures that included crying and frowning constantly her eyebrows. This created a negative effect upon the audience since they felt empathy for poor Edith Piaf who after overcoming a hard difficult lifestyle, she has went back down to that same level of difficulty that she was in before.

Moreover, the characterization of Edith Piaf was reassembled perfectly. Edith Piaf had suffered from the departure of her mother and the inability of her father of taking care of her when she was little. As a result, the mother’s personality of being a part time prostitute who sung in streets to collect money influenced directly Edith’s behavior. Patricia Barreto portrayed Edith Piaf as an alcoholic singer who was a partial prostitute who picked up men from bars, exactly like her mother. Due to the abandon of her mother, Edith Piaf inherited the exact behavior of her mother. This is shown when in the beginning of the play, the setting is in the street where Edith is a beggar singing for money in the streets. Also, while she encounters men she behave like a total immoral person, or in other words a prostitute to win money due to her unstable standard of living. Furthermore, the characterization is also evidenced when Edith goes to bars and kisses literally with each man she encounters or when her consumption in alcohol beverages increases, increasing her alcoholic dependency which leaded her to a unbalanced an insecure lifestyle. This was because she didn’t had any parental guidance that would help her succeed correctly in life. Finally, most of Edith Piaf’s monologues were chanted since her singing was an autobiographical reflection of her life, the songs she chanted were metaphors of the aspect of her life. As a result, this is shown in the death of the married Marcel Cerdan, she sung a ballad based on the loss and sorrow she felt after the unexpected death of Marcel, her true love. The song was “la vie en rose”.

Finally, the play “Piaf” directed by Pam Gems was a reflection of the personal life of Edith Piaf, the transitions she passed through that leaded her to the road of success, the bumps and down she had during her life and more. This was proved when the play began presenting Edith Piaf in the middle of the busy streets of France where she was street singer that gained money due to her natural talent. She began singing “je ne suis rien” that attracted tourists and locals quickly. From there, a man stood and heard her. As a result he was the one that gave him the job opportunity that would save her from the ruin and shine in the future. Her life continued happily until her loved one died, which altered her completely and led her to the constant stress of concerts and the addictiveness of alcohol beverages and drugs, especially morphine. Finally, due to this dependency and the car accident she had suffered before, an internal hemorrhage as created and she was incapable of singing. In conclusion, Edith Piaf’s life was a mixture of positivity that was governed by the depressing moments she lived through. 

Moreover, an interesting fact of the play was that the prologue, the introduction of Edith Piaf singing “Je ne regrette rien” was repeated three times. The first time was more simple, Piaf was in a normal mood with no preoccupations and singing “Je ne suis rien”. However in the second and third time that were near the ending of the play, Edith trembled to come out to the stage and sing. Inclusive, in one of the attempts she passed out and began crying of the desperation. Thus, meaning that this radical change occurred because of the consumption of drugs and alcohol, the broken heart issues and the solitary life she lived in had finally bumped her, leading her to a severe condition. Lastly, the context of the play was easily identifiable due to the videos placed in the screener, which illustrated the reign of Hitler, in other words the outbreak of World War 2. Also, this was proven when one scene reinforced the victory of France and the defeat of Germany in World War 2. French flags were carried, while drinking, celebrating the victory and chanting the French hymn. 

Specialized lights workshop!

Description:

On Monday we were able to have the opportunity to have a unique and personalized workshop on lights lead by Pancho Tuesta, Mr. Gonzalo's brother. It was a three hour session personalized only on the functions of lights to learn the different types of lights there are, the importance they have and the different impacts they create while using them in a specific scenes. In conclusion, we learned and reflected on the importance of lights in the success of a theatre performance

Analysis:

Honestly, I believed that lights were considered the least important features of the design elements used for the transmission of a play. However, I was wrong. I learned that lights are not only about lighting the scene, the theatre or the stage. Instead, lights have several functions and properties that can be controlled to reinforce a particular emotion and give significance to the acting of characters. Given to the contrast properties of lights, we are able to learn how to create dimensions of characters. Also, we are able to proportion volume to the character’s silhouette and size to transmit their mysterious, evil, wicked side towards the audience. This will lead to upcoming suggestions and connotations made by the audience regarding the future malice they will confront sooner or later, in other words, the fear caused by evil characters. From this, I have learned that by using the contrast property, we are able to bring to light the character’s deepest intentions that are not easily identified by the eye. An example that can be used in the play can be that by using the third row light with mustard gelatins, we could create a slight shadow on Bharata's character who at the end of the play, will release his inner jealousy, usurping Rama’s throne. This light technique of contrast could be used at the final moment to show Bharata's evil and malicious side that the audience haven't ever imagined or suspected of before.

Another important characteristic of lights is the temperature of the colors used. According to our color palette respecting Kathakali principles, we need to reinforce the contrast between good and evil; love and heroism against wickedness and immorality. For the representation of the good, we will use light colors such as mustard, green, light blue with a warm temperature to give a sense of confidence towards the audience while sinister and strong colors such as red or purple with a cold temperature will symbolize fear and violence. As a result, the red and purple gelatins combined with a cold temperature will create a nerve wrecking sensation to the audience. This will not let them feel calm and pleased after watching iniquitous demons. For example, in the play, specifically the Great War, perhaps red cherry cold temperature Fresnels can be used to transmit violence, anger and decadence towards the audience since there will be several deaths present. Also this is because, this scene represents strongly the fight of good vs. evil, the triumph of the good and the decadence of the evil forces. Another example could be in the royal palace, Dasaratha’s throne, we can use mustard warm temperature Fresnels to illuminate the palace and transmit heroism to the audience. Also by using these mustard colored Fresnels, a noble atmosphere will be sensed by the audience since mustard is nearly linked and associated with gold and power.

On the other side, by having this light workshop I have learned to specify myself more when referring to lights. Not to generalize the word as I used to. Instead I have acknowledged specific positions and importance of Fresnels or the impact a senital light can cause on a character’s physicality. Fresnels are named as the basic lights generally used in theatre. Moreover, Fresnels are able to close or open angles of their lens. For instance, the Fresnels can help with the intensity of the light. If the angle is opened, the Fresnel will create a wider illumination of the entire stage while if the angle of the lens is closed, there can be a specific importance given to a single moment of the scene or character. By using diffusing filters, I have learned that we can lower or raise the intensity of the light. For emphasizing the attention on a specific character, senital lights are used. An example is that we can use these to mark a clear difference between the good or evil. For the good section, we can decrease the intensity of the senital lights, a smooth source of light will perfectly create a lighter weight on the character to portray its innocence and morality. Meanwhile, for the evil characters, we can take advantage of these filters and use a strong intense source of light to reinforce their sinfulness. In retrospective, this will make the audience contemplate, admire and identify the character more in depth. Especially this will help them recognize their intentions and understand the context of the play better than before.

Finally, I learned about the positions of the lights, the CORRECT position of the frontal lights .According to the Mccandless method, we need to cross the directions of the lights. This Means that a single pair of lights will not focus only on a particular spot in the stage, instead one will be illuminating a spot while its pair will focus on another empty area of the space to avoid vacant areas that lack illumination. I must admit, I didn’t believe that there was a specific position and direction of lights. I thought it was just plain simple, that the frontal Fresnels or tachos focused to one single direction. In other words, I just though they needed to face straight the audience, not having a 45 degrees angle facing a specific spot in the stage.  

Connections:

While watching the play Piaf based on Edith Piaf’s personal life in the Allianz Frances, I noticed a technique Pancho taught us that was used during the play to change the time of the scene. Pancho taught us the use of the medium light bar that contained Fresnels with which, if we placed blue jellows and turned the other lights off, we can create a night silhouette. In the case of the Piaf play, I noticed that they used pink yellowish fresnels located in the medium light bar to demonstrate the audience that it was dawn. Then, to mark the change in time, light blue Fresnels were used to prove that it was becoming night time. Another connection I made was that during Piaf’s monologues, bright senital lights were used to emphasize and highlight her face gestures and body expressions that were directly linked to the monologue she was transmitting to the audience.

Reflection:

By having this workshop, I have reflected on the importance of lights in a performance since depending on its intensity, direction; it can collaborate with the interaction of characters or either create a sinistrical side of a character that isn’t usually visible to the audience’s eye. Furthermore, this workshop has apported me a wider knowledge regarding the use and characteristics of different types of lights that will be useful for the P3 in the IB course, the direction of a scene. However, there is kind of an issue, just a slight one… NO (actually it is a quite big problem we need to fix). The problem is that the school doesn’t provide the best light system for the theatre; they just fit with the basics. Concluding, how will I remember all the information about lights provided by Pancho? Or how will we adjust the outstanding knowledge about specific lights given by Pancho into regular unprofessional lights that the school provides us?

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.

Its officially the time! Scenes, Scenes, Scenes

Description:

On Monday, we defined the schedule for the daily rehearsal of the different scenes we would present until the final demonstration of the school play. During Wednesday and Thursday’s class, we explored the physicality and personification of our given character starring the play. Finally, on Tuesday, Thursday and Saturday we had the school play rehearsals where we advanced the progress and development of the prologue, scene 1 and 2. 

Analysis:

Wow, stress in now a constant sensation I feel. During the rehearsals, by focusing on the demon's characterization I learned that I constantly, consistently and daily need to practice my different postures, the mixture of a low and high pitch for the projection of my voice, the pronunciation of the “r” and “s” consonants and others to maintain the essence my character, Indrajit. It true, this is the slight break we are doing to the Kathakali principles, but I learned that although there will be lines, the physicality of our characters will become the main focus of the play. This means that my strength resistance has to improve, has to majorly improve. By portraying, Indrajit, an impulsive daughter who wants to prove her strength to her mom, I noticed that I have to go beyond my comfort zone and my personality because Indrajit is the opposite of me. Theatre is putting yourself in other's shoes although it does not fit you. While exploring my characterization, I learned that evil forces are definitely NOT THE SAME as the demons. Evil forces are consistently at a lower base position while, use demons, need to follow the purulia chhau principles which consist that the basic position forms a square. Simply, without forming the square, you are no longer a demon. This constantly challenges me because throughout the entire play I cannot stand straight, or sit. Instead, i must stick to the square bas position because, or else, I am no longer a demon. This makes me constantly wonder that if I just do a slight or minimal change to my feet posture, would it break the tradition completely. Because the issue is that, it is quite exhausting to be in the same base position for a longtime. 

All acting conventions finally link together to create a worthy Kathakali theatrical environment. As demon, I combined and corporated some kalaripayattu postures for the interpretation of my character. For Indrajit, the twisted movement of the torso and arms are a key movement that defines and differentiates her from the other demons. I used the kalaripayattu elephant posture where it lifts its tusk for the androgynous movement of Indrajit’s arms. In addition, I added leaps from purulia chhau movements to portray the childish phase of Indrajit. Scene 2 is the introduction of the demons, the powerful moment where fury and fear are combined.  The exaggeration of face and body gestures is fundamental for the success of this play because if the presentation of the demons isn’t outraging, the play will lose essence and significance since the rival isn’t presented as powerful and defiable as we wished it to be. I must admit, there are some actresses that get lost in the moments or they do not do the face expressions clear enough since exaggeration is lacking. Okay, perhaps, I understand the reason they do not do it correctly because the fury expression is quite weird, creepy and ugly. Nevertheless, if you do not exhibit it, then how are you going to be a trust worthy demon if you have a plain face expression with no intentions! On top of this, after presenting the scene, it made me feel happy because we caused fear towards the audience, which was our main purpose and aim.

Connections:

By doing the construction of my character, I noticed that my inspiration source was my representation of the witches in Something Wicked. Although the posture was not alike, some similar exaggerated hand gestures fitted, to an extent, to Indrajit’s physicality. Another connection was that in Something Wicked, our triple witch had to emphasize on the r sound, just like Indrajit’s! While the s sound was a predominated sound of the minions or evil forces. However, although these two connections I discovered just linked to last year’s school play. I would like to place my personal perspective on the personification of Indrajit’s character just as I created Laura in my ensemble project “Nothing is what it seems”. However, I will use Mrs. Alicia’s suggestions about the projection of voice, but I will include my own interpretation so that Indrajit has a slight spark of myself. In addition, another connection I made was that when Olenka and I had to act the confrontation between Indrajit and Shurpananka, we had to constantly do exaggerated mad face expressions while bumping our heads against each other. This leaded me to the idea that we seemed like two dogs or bulls actually trying to kill each other.

Reflection:

The satire of being a teacher is actually quite funny. While I was teaching the conventions, I claimed all the effort and strength resistance from each actor even though they could not reach that barrier of trespassing their comfort zone. Now, when I did it, poor creatures. I felt so bad, now I completely understand the suffering they were passing through. It is actually much hard doing it completely in depth like the ones they were doing it in my workshops. This made me reflect on the more pressure you have, the outcome will be better. I placed myself in the same conditions as them, I attempted to maintain in these postures or actually complete to perfection the warm up (specially the one leg sit down which I still can’t do!!!) and simply, nothing is what it seems. You can believe warm up exercises are the easiest part. Well, they actually are; but for a non-Kathakali theatre actor it is difficult because in comparison with real famous Kathakali practicionists, we are not even near of reaching their level of performance because they have practice for several YEARS. In comparison, us, just nearly a month. However, this made me reflect on the idea that a constant practice of the postures and movements must be made, or else, we will not transmit the correct message to the audience, failing completely in maintaining the essence of Kathakali Indian theatre.

By being a demon, it is quite difficult to transmit the audience that we are not anymore evil forces or witches. Establishing the difference is quite hard because, to an extent, the hand gestures are similar, except, the inclusion of mudras marks the difference. The square, the square, the square. The demons must and have to form the square, slide on the floor with the square and live with the square. This is because if there is a slight modification to the parallel movement of your feet, the square is broken and there is no longer a Kathakali essence. This makes me reflect on the idea that what would happen if I just do a minimal movement of my toes, would it break the tradition completely, or just a bit? Moreover, how can I maintain for a long time in the same square basic position if it is seriously, very exhausting? (I mean it, seriously). In terms of the mudras, how can the demons not get distracted with the exaggerated hand gestures and focus more on the mudras? If the finger gestures contribute to the actresses a much better demon physicality whether than the mudras with thousands of meanings?

A teacher experience... not that bad after all, quite entertaining!

Description:

During classes we discussed on the different design proposals, we decided on the official selection of the cast and we finally made a slight change to the concept: “El destino no esta escrito, cualquiera puede cambiarlo”. Regarding the school rehearsals that were on Tuesday, Thursday and Saturday; we teached the assigned acting conventions as well as being part of them to have a full comprehension of the principles of Kathakali theatre. In my case, I teached kalaripayattu animal postures and purulia chhau dance style for the demons.

Analysis:

I teached the different body movements to the actors which were either kalaripayattu postures or purulia chhau basic positions to reinforce the physicality for the characters that are considered essential elements for the transmission of our tradition, Kathakali Indian theatre. Kalaripayattu are specific postures that bases on the fighting strategies of animals. From this, I discovered these would be perfect for the representation of monkeys. While teaching these movements, I explained the key information and specific animal postures of kalaripayattu like the elephant, rooster, horse and others. However, in my workshop on animals, I gave them liberty to create their own interpretations of animals, which were not available in Kalaripayattu whether than relying fully on the specific postures of kalaripayattu. I learned that personal perspective and imagination from the characters were needed to create a unique interpretation of the given animal. Due to the innovation given by the actors, we were able to create kalaripayattu movements with a spark of their own. As a result, that we must stay stick to the convention, however adding a spark of imagination by the actors themselves, we can manage to stick to Kathakali acting style because even though its their own created posture, they are still sticking to Kalaripayattu’s main element which is a fighting strategy of the animal.

In addition, this process was similar on Saturday’s rehearsal where my focus was not on the animals, but instead on the physicality of the demons using purulia chhau body movements that are based on martial arts movements such as kicks, leaps and more. I began by showing them videos exploring purulia chhau dance movements where the base position usually forms a square. A main issue which dissapointed me was that in that workshop was that my team was not complete which leaded me to the idea that without the full cooperation of the entire group, we cannot advance as quickly as we wish to because this is a difficult theatre tradition that requires a significant amount of practice. Since in Kathakali theatre the physicality, makeup and costumes needs to exert beyond the acting skills, practicing constantly the movements will be essential for the school play to advance its process and keep the essence of Indian theatre. By doing both workshops, I learned that actors require a huge amount of concentration because these postures are difficult to preserve. This made me reflect on the idea that each character needs to discover and identify their center to maintain themselves in these diverse positions either animal or demon because if there is the slightest change in the posture, it will not transmit the same character they intended to transmit before.

On Thursday, by being in Olenka’s workshop about Mayurbhanj chhau dance movements, I learned that the basis for body expressions is concentration. Simply, without the sufficient concentration, characters will easily reach failure and transmit the wrong meaning to the audience since they could not do correctly the posture assigned. We explored different base positions that required muscular resistance, especially in the legs. One essential thing I learned was that we need to overcome the tension even though it is too high. This means that although the specific movement required loads preservation and concentration, tension became to appear, instead, we need to overcome it and by the time our body will get used to it and not suffer the pain as the first time ever done. These positions suggested me the idea that Mayurbhanj represents battles with acrobatics and martial arts which I did not know before. To an extent, it is similar to purulia chhau movements but the difference is that I used and focused only on purulia chhau body expressions whether than the collective movement as a dance.

Finally, all the actors were able to reach my expectations, which were to go beyond their comfort zone to perform and maintain difficult animal and demon postures without complaining. In some few cases, some actors did not reach the necessary line of conservation and gave up. However, as I told them constantly to maintain for just a few minutes the vast majority was able to accomplish it even though it was their first time ever trying a workshop that in the original Kathakali preparation is 10-15 years which made me feel happy and proud for them. Although, they just believe they are a collective actor like monkeys and demons, but they are essential for the play because without them, the play itself would fail completely. We need to teach them they are important by being collective characters because they have learned the body expressions that are KEY for the play to maintain it’s Kathakali essence because without it, it wouldn’t be considered a worthy indian theatre representation.

Connections:

By comparing Olenka’s workshop on mayubhanj chhau movements for the great war and mine of purulia chhau, I noticed that both met the same base positions because they are two different variations of the chhau movements. This relatively connected both workshops since mine included the exploration of supernatural creatures such as animals and demons while Olenka teached  the heroic dance where these same characters would show their dexterity and agility skills while portraying the great battle. Another connection I made was that for the construction of the physicality of the demons, I took inspiration from the evil forces from last year’s play something wicked.  As inspiration, I used their low positions for the transition of the posture for the demons while mixing it with the square base position and the acrobatics like leaps that are from the purulia chhau tutorial to maintain the essence of Kathakali whether than loosing it. 

Reflection:

This was actually our teacher week. It taught me how to have a constant patience with each actor because each one has a different rate of learning. Due to the cooperation of the VI form IB students, we were able to fasten this process since they helped us direct and at the same time be our students since we taught them the acting convention. For the future’s benefit, the form VI ib students by acknowledging these conventions, they would help us by directing the scenes and verifying if the actors are accomplishing to excellence the acting convention while we need to act and produce the play at the same time. Their outer support has helped us in many ways.

I discovered that the teaching of the body movements has to be exquisite, focused and unique because Kathakali theatre involves mostly elaborate gestures and body movements whther than focusing on the dialogues. This is because, to an extent, Kathakali is a miming style of theatre because the style of the acting is important while the actual talking isn’t considered highly significant.

This also caused me stress because if I did something wrong, I wouldn’t only affect the learning outcomes of the actors but would affect negatively the play itself since it can’t advance without acknowledging the true principles of Kathakali theatre.

Now, these  questions have been haunting me... How can I teach the different body movements and postures as similar as posible? I mean like the actual kathakali experts when i only get to teach them a month while professional kathakali actors have 10-15 years of preparation!!  Also, will they remeber the several different acting conventions of body movements i've taught them? Which would be the best and efficient way to teach them the movements to perfection if they can't practice at their homes or don't have that natural talent of preserving the posture?