Today in Double, we all continued on working on sections of Dr Faustus which are relevant to us. Whilst James, Rhiannon, Charlie, Rob and Lorna focused on finishing the Lust section of the Seven Deadly Sins physical piece. Ollie and I continued learning lines with each other with different techniques.
We started off by just reading the script to each other in our characters just focusing on our voice. I've decided to go quite common with my Mephistopheles but not too common whereas most others would go for a more demonic approach. I feel that Mephistopheles is more than just one of Lucifer's millions of minions of Hell and I intend on representing my feelings with this change in voice.
After running through the script once, we started again but this time, we added movement. We've already got movement for the introduction of Mephistopheles but for the rest of the play we improvised our movement whilst keeping in mind our characters' motives at the time. For example when enticing Faustus into signing the contract, I walk quite slowly and indirectly; Mephistopheles knows he has Faustus in the palm of his hand so he wouldn't be fussed about making intense movements. However, after showing Faustus the wonders of the universe, Mephistopheles feels disappointed and angry at Faustus. My reaction to this is faster and more direct movements and a slightly more stressed tone of voice.
For next lesson, we've been asked to explain how we portray our character in a certain scene and link similarities of our choices to a practitioners style of doing things. In my first scene, Mephistopheles has been summoned by Faustus; Mephistopheles knows exactly how to entice Faustus into selling his soul but showcases how little effort he needs to use. Ollie and I used a key physical theatre technique called Round-By-Through. This technique was created by Frantic Assembly and we've used it a lot of times in other productions so we're both very familiar with it. We decided to use Round-By-Through as it is a very effective method of detailing a characters emotions and motives and highlights certain plot details; it also portrays key characteristics.
Another practitioner we kept in mind was Rudolf Laban. Laban was all about showing how movement can tell a lot about a character and their body language can be varied in order to show how they feel and show what sort of character they are. He had 4 main factors to which he based a lot of characters movement on which were:
For next lesson, we've been asked to explain how we portray our character in a certain scene and link similarities of our choices to a practitioners style of doing things. In my first scene, Mephistopheles has been summoned by Faustus; Mephistopheles knows exactly how to entice Faustus into selling his soul but showcases how little effort he needs to use. Ollie and I used a key physical theatre technique called Round-By-Through. This technique was created by Frantic Assembly and we've used it a lot of times in other productions so we're both very familiar with it. We decided to use Round-By-Through as it is a very effective method of detailing a characters emotions and motives and highlights certain plot details; it also portrays key characteristics.
Another practitioner we kept in mind was Rudolf Laban. Laban was all about showing how movement can tell a lot about a character and their body language can be varied in order to show how they feel and show what sort of character they are. He had 4 main factors to which he based a lot of characters movement on which were:
- Space - Direct/Indirect
- Weight - Strong/Light
- Time - Sudden/Sustained
- Flow - Bound/free
Below is how I ranked Mephistopheles in his opening scene:
SPACE - Slightly indirect (He has so much power he doesn't have to direct himself too much)
WEIGHT - Strong (To represent his power and frighten Faustus)
TIME - Sustained (He can take his time with his actions as he has no pressure and no potential threats)
FLOW - Free (He can do what he want as and when he wants)
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