We began by simply running Act Two and dealing with any physical theatre which needs to be blocked when we came to it. However, as soon as we got started and Mephistopheles starts describing the tortures and torments of Hell, we discussed whether we could/should add a physical theatre sequence here. Before we started Faustus, we were given this paragraph by Meph to use as narration for a physical theatre section. We thought seeing as we already have ideas for this section, why waste them? Although we were eager to make this section physical, we agreed it was best for us to finish blocking the physical theatre we had already planned on doing then add in more if we have time.
Before we continued, we learnt the hall was free so we decided to arrange our set up there so that we get a feel for what it feels like to perform in the space in which our real performance will be in. We also blocked where we wanted our set too:
- Faustus' desk will be on the stage with steps leading up to it.
- His armchair will be to the side of the steps
- Instead of our original idea of having only one block in the centre, during the interval, we'd set out 5 blocks (one taller block in the centre and shorter blocks beside each of side of the central block). This allows a lot more space for the use of the blocks and allows us to incorporate levels into our physical sections to represent power, status and control. Also, this means we no longer have to bring on blocks for Faustus' hospital bed but merely rearrange the current ones.
- A stack of two blocks will be stacked at the opposite end of the traverse to Faustus' desk, accompanied with two chairs to be used as Valdes and Cornelius' office. The distance between the desks, along with the actors lack of eye contact, helps create the illusion that these two offices are in completely different places.
We then started blocking the scene where Meph showcases the pleasures of Heaven to Faustus. We not only wanted this scene to be majestic and mighty to represent the holiness of the heavens but have a great deal of travelling to represent the length of their travels and the amount of time they've spent on this journey. This allows the audience to believe Faustus' attachment to Meph a lot more when he fears of losing the allegiance he has with him.
Below is our movement:
- M pulls F onto the centre block. F looks around in disbelief and M pushes F backwards. F falls into the arms of Lorna and James. They push him back up.
- M stands down to the block below and allows to F to stand on the higher block and observe the beauty of Heaven. M steps down from the blocks. The chorus mime sword battles in partners across the traverse at a distance. They hand F they're swords and F admires the power he now has. M walks towards F's office and beckons F over to look at a projection of the cosmos. M pushes F back over his right shoulder.
- M brings F towards James where he bows. M faces F to Lorna where she stag leaps across the traverse to represent the beauty of nature and all creatures. M brings F to the blocks where F and Charlie clink glasses of rich tasting drinks.
- F gets turned by M to James who hugs F. M turns F to Lorna where they have a medieval courting dance. M turns F to Rob where they shake hands and leave each other by Round-By-Through. M brings F to Charlie and Lorna where they glide and turn across the traverse in a ballet style.
- F returns to the central block and turns, admiring the heavens. The chorus spin towards the blocks with material and rest in the corners of the blocks whilst still waving the material.
We then continued on up to the point where Lucifer comes in as we hadn't yet recorded his speech but we will get this done next lesson.
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