'How did the group plan for a range of audience responses? Essay\r'

'Through our performance we wanted to occupy a series of responses from the reference based near the many a(prenominal) different bumpings you tummy experience if you were trapped. As the topic didn’t really allow for the kinetics you can form with humour, we had to enable the consultation to mentally separate their emotional response for each timbreization, in tell for them to feel a new emotional experience. We did this by c befully planning the emotional locomote we wanted to take them on, by first rilievo them into feeling scared †with the kidnapping moving-picture show, and eventually taking them to the paranoia featured in the final stab.\r\nWe even monitored how the audition responded to the performance by asking them to fill in a questionnaire. In the first set of scenes which revolved around the kidnapping of a little girl, we wanted the listening to be jerked at the accompaniment that this can happen in broad daylight. We indeed set the s cene at the end of a school day, with the kidnapper stood in earshots view notice the little girl. This immediately creates suspense within the reference as they know something is divergence to happen. When the girl tardily follows her and reluctantly holds her hand we wanted the listening to feel shock and helplessness.\r\nThe second part of this scene was a news report on the kidnapping. This scene was cardinal that we aforethought(ip) to be short, yet grasp the interview’s attention and guide them realise the sincerity of the situation. Though this scene was simple with its lighting and no sound effects, it was evident that the earshot matt-up concerned. 1 of the scenes where we intended to emotionally shock the audience was mentioned many times through the questionnaires. It was the scene in which the catch interacts with the audience. For this we intended to economic consumption a Brechtian technique of geological fault the fourth wall, and ‘minglin g’ with the audience.\r\nWe wanted her tone of piece to be very screechy and powerless to shock the audience into really believing that she has lost her child, and the engross of close eye contact makes them feel forgetful to help. The audience said that they felt disturbed by closeness of the interaction between Laura (the mother) and themselves. We wanted to embrace the Brechtian theme through the call of placards, as they create visual captions that interrupt and summarize the action. We planned to telephone call at the audience to make them feel uncomfortable.\r\nanother(prenominal) change is made when we add some chinchy and fast drum and bass music, and in merged flashing lights. We thought that by creating something visually stimulating, we could make the audience feel vulnerable. Using physical planetary house, we as a group wanted to physically jibe being trapped. Charlotte (who played the girl being kidnapped), and past violently shaking and moving whilst Charlotte attempts, yet fails to campaign and reach out. We planned to provoke an emotion of photograph and powerlessness further in such a way, that it would shock the audience.\r\nThe use of physical theatre explicitly allows the audience to actually ‘see’ the scene, and leaves it open to interpretation. Also, the anorexia scene was a mixture of both naturalism †with the constituent of Sophie †and surrealism, in that Charlotte is physically representing anorexia. This in its own skilful should make the audience uncomfortable and nervous. Like Antonin Artaud’s theatre of cruelty, we wanted to create a character that’s physical representation would shatter the fictive reality and disturb the audience. That is how we came up with Anna’s character.\r\n except we firstly wanted the audience to feel high-risk for Sophie (the character with anorexia, played by me), so we gave her a monologue in which she gradually became weaker as she w as talking. This use of breaking the fourth wall by addressing the audience was intentional, as it would create an intimate connection with the audience. I started off with a confident tone of voice, but gradually got quieter and my body language more half-hearted as I came to the end of my monologue. We thought that the use of monologues would help to engage the audience.\r\nThe emotional journey we planned to take Sophie on was to give her a function of emotions, so the scene didn’t become wispy and lose audience interest. The contrasts of the shouting at Anna, and indeed running away crying, were an attempt to take the audience on the same journey I was experiencing. When Sophie collapses at the end, it signifies her physical and mental exhaustion, that again we wanted the audience to feel after watching the performance. The poverty scene was used, in order to show the selfishness within our society, and how we ‘ flake a blind eye’ to what is right in fro nt of us.\r\nWe wanted to use physical theatre to make the piece quite abstract. In order to do this we again thought a Brectian technique would work well, as we didn’t want the audience to be spoon fed in that location emotions. This mode of distancing ourselves from the audience was a great way of allowing the audience to question what they are seeing. We wanted them to create there own interpretation of the scene and how they really felt about the issue of poverty. As there were no words, we used music which we felt embodied a lot of feeling. At one point in the music, the rhythm changed.\r\nWe decided this would be a dandy point to interact with the audience, so we looked up and stared at them. This was an attempt to single out the audience members, in a way as if to say ‘you can change this’. We also repeated the scene again but with masks. We wanted to represent the facelessness of society, and how people are too self involved to see what is going on aro und them. However, after reading the questionnaires we had asked the audience to fill in, many of them wrote down that they didn’t find out the scene, especially when with the masks.\r\nWe maybe could have thought this scene through a little more, and perhaps not have used the masks as it just seemed to smutch the audience, which we did not want to do. In conclusion, the groups plan for a range of audience responses was really dependant on what type of technique we wished to follow. As we have canvass many practitioners and their theories; we felt that using a frame of different acting styles and techniques, we could plan and create our desire audience responses. However, we also had to consider the genre and circumstance of the scene, so that we could create the response that we wished the audience to have.\r\n'