THE VOICES PROJECT:
BETWEEN US AFTER YOU SEE THE SHOW FIRST IMPRESSIONS
EXPLORING THE THEME
After seeing a performance it is always good to note your first impressions of the piece. This includes: things you liked or disliked, things that met or didn’t meet your expectations and anything unexpected.
We all have secrets: they are the whispered confessions, the embarrassing stories shared with friends, the guilty pleasures, the white lies, the gossips and the unbelievable truths.
Secrets YOU HAVE A GO → In small groups, discuss the responses you had to the show. Try to recall the things that stood out the most in your mind. Create a tableau that depicts the essence of the production you have selected.
Both our writers and our cast explored the ideas around secrets. Through this process they looked at four distinct phases:
Keeping a secret Hiding a secret
→ Share your tableau with the class. → Discuss you tableau and thoughts of the production.
Revealing a secret
→ meet the cast www.atyp.com.au/ between-us
Reacting to a secret YOU HAVE A GO → In small groups, quickly improvise a tableau to each of the four phases above. Try not to think about it too much. Make a physical offer and respond to it. → Select one of your tableau and use this as the starting point for improvising a short scene around the idea of ’secrets’. → Present your improvisation to the class.
Photo: Tracey Schramm
→ Discuss the elements that worked/didn’t work, related well to the idea of secrets, or the essence of the original production, what surprised you etc.
FORM AND STYLE PROMENADE THEATRE Between Us is staged in an unconventional promenade style. The audience move around the theatre space and the action occurs in various spaces. Monologues are performed in unexpected places and the audience walk around the theatre accordingly.
YOU HAVE A GO → Using your improvisations from the secrets activities on the previous page, start to plan a piece of promenade theatre. → Decide on a location for the class. Will you be in the classroom, in a theatre space, in the hall or in the playground. → In your small groups decide on a location for your improvised scenes. → Decide on the order that each group will perform, which group goes first second third etc. How will you transition between each piece? You may wish to draw a map for you audience to follow. → Perform for another class. You may wish to develop your scenes and turn this into a larger performance for parents, friends family.
Our Director, Sarah Parsons, alongside Set and Prop designer Melanie Liertz were → see another required to think of the example of promenade theatre space at ATYP from a bird’s eye view, to plan on a large scale www.atyp.com.au/ the spaces in which each monologue was to quay-the-city be performed. You can see the plan of the space in the image above.
Photo: Tracey Schramm
MOVING BEYOND THE WORDS : PHYSICALITY YOU HAVE A GO
LE COQ When rehearsing monologues it is often the case that an actor starts with the text as their first point of reference. In the rehearsal room for Between Us director Sarah Parsons and Assistant Director Curtis Fernandez decided to try and get the actors to forget about their text. By adapting the technique pioneered by French artist Jacque Le Coq, the team encouraged actors to get out of their heads and into their bodies.
→ Scatter yourselves around the room. Begin in a classic air guitar pose. Gradually move through the stages of tension in order to get a feel for each. → Prompted by a facilitator flip between the stages of physical tension that are not directly similar eg from Fatigue to Alert. It is important to note no dialogue or words are used, only vocal sound effects.
EXTENSION: The Seven Stages of Tension Fatigue Casual Neutral Alert Economic Passionate Catatonic These should be used as a guide for QUALITY of energy not quantity.
→ see another example of approaches to text http://issuu.com/ atyp/docs/ bite_me_resources _inspiration
The cast used the physicality of an air guitar competition to play with these stages of tension. It is important to note no dialogue or words are used, only vocal sound effects
→ Apply the stages of tension to a character or piece of text. Can one character move through all? Does he/ she like to wallow in one particular stage of tension? How does the physicality relate a sense of character? → Discuss.
Photo: Tracey Schramm