A Painting by Paula Rego called The Family - The Stimulus for our Dram

A Painting by Paula Rego called The Family - The Stimulus for our gambling PieceINTRODUCTIONIn this essay I will be discussing the work that I have done in thefirst staff of performance studies.The aim of this module was to develop technical skills in dance, loosenessand music and using the performance process of improvising, rehearsingand performing and then applying these skills to quaternary performance tack ons. We carried out several skills workshops to help developconfidence in all 3 thematic areas to a more even consonance as roughlymembers of our group had never done dance, music and some hadnt takenexpressive arts GCSE.In this module I certain skills in all three areas, some completelynew skills (for congressman in dance) and those skills, which I alreadyknew but veritable them to a high standard of performance. I alsolearnt the processes of constructing a performance piece inperformance studies and skills that are applicable in all threethematic areas. I will el aborate on how I have developed these skillsduring this module in this essay.THE DRAMA PIECEThe stimulus we were given for our shimmer piece was a painting by PaulaRego called The Family which contained a lot of ideas forinterpretation, peculiarly work on proxemics, which we had previouslystudied in our skills workshops. The Family shows an ambiguous alliance between men, women and children and the variation in thetraditional status of a father, mother and little girl figures. It is principal(prenominal) to bear in mind during stages of improvisation thatcharacter and plot development are not al demeanors the most essential surgical incisionof a drama piece. More advanced performance skills should be takeninto account, such as tension, proxemics and animalism and thesubtext created as a result of the efficient use of these techniques,which our drama piece evolved around. We decided that the most directway of communication was to produce a distinct sexual subtext between two c haracters, and in our case this was the father and the daughter.Initial brainstorms we had were focused on light, physicality andgesture in the picture and we didnt want it to be story - led as we mat this would be too simplistic and wouldnt allow us to explore ourskills and techniques as performers. In the early stages ofimprovisation, we decided that tension was vital in our scene, so thishad to be created by si... ...med our dance to a structured rhythm while to showthe evolving of the evil dominating the pure and good. But as I saidbefore, there seemed to be no real motivation potty our piece. I did olfactory modality thought that although we had no dialogue, it was unnecessary todo so and I think that the studying of Boal and Pinter really helpedwith this. I think that, as a group we realised that plot andcharacter development werent important at that stage. By not havingany characters but just performing the gestus of our role, we portrayedthe mannerisms, which as a result created tension because of thecontent of the scene. I do feel that because we didnt have characterssuch, the other skills we had refined were lacking. This is the onepiece that I actually would like to do again as I dont feel wedevised and performed this to the best of our abilities. I think Iwouldve liked to dungeon the music and dance pieces but adjusted thedrama to include the strain of energy we had had in the drama piecewhere the piece was loaded with subtext. This I feel was notdramatic and didnt convey the ideas to the audience that we wantedto. I dont intrust this piece was as successful as it could havebeen.