Scripted So Far

Our Set:

Our set consists of four, two tiered rostrum, with the wooden tops on both layers. We made this decision as, whilst it is typical of total theatre to have minimal props, there are certain props we found necessary to change costume (see below). Also in relation to costume, we have a white sheet over the rostrum. This is also used to make the table look like a surgery table which plays into the storyline and the original use of the table. We decided on the table itself after we were first introduced to the script with the surgery table preparation scene (see scene five, picture one). We decided that in order to obtain the robotic interpretation of the ambassadors we wanted we needed a uniform set, so a rostrum to a person seemed most appropriate, and this only furthered the more we developed our ambassador scenes and experimented with synchronised, repetitive and exaggerated movements.

Scene One:

This scene we wanted to be create an impact on the audience, it being our first scene, so we decided to make it one of our most dynamic scenes and direct the majority of the lines at the audience (or at least say the lines out to the audience. We extended the first line in order to achieve this, as it meant that we could introduce the clear hierarchy between the ambassadors by having Jasmine give orders to the others; who reply with sharp, quick movements, with Chloe's nervous disposition around Jasmine showing. We ensured there was a movement per line and complemented this energetic start with certain lines, that particularly convey collective beliefs/ attitudes, said in unison. This is representative of the group mentality we thought was so prominent in the ambassadors (with the exceptions of Hannah and Chloe).

Scene Two:

We originally struggled with this scene as, having begun with the scenes with the ambassadors, we found transitioning between them, and their lines which are so very enabling of the total theatre style; and the birthday people, who we interpreted to be much more natural and disjointed, quite difficult. We wanted to find a way to convey this opinion of the characteristics of the birthday people whilst upholding our elected style. In order to progress we decided to look at more practical approach, by deciding on lighting. As we decided on our set based on the ambassadors, we wanted the lighting to be set for the birthday people in its own right. We decided to use the lights to demonstrate the changing relationships and opinions of the birthday people and to convey the fact they are all locked in. We intend to have a spotlight each, from which we can't move out of, and these spotlights will decrease per scene change forcing us to group with others based on whether they sided with Alexis or Silas or were still undecided. This made choreographing movement much easier as we had limited our movement and given ourselves boundaries. Also, as the lights were communicative on the main themes of the scenes with the birthday people in general, we were able to focus on introducing the characters and find ways to initiate the relationships between the characters. This consisted of more or less direct communication with others (as opposed to speaking out to the audience despite being in conversation with someone) and whether or not our characters participated in the synchronised movements. We decided to begin with simply turning our heads and saying certain (more panicked) lines in unison, excluding Silas as they are the only one of the birthday people to be outspokenly against the situation from the very beginning. We have yet to devise around the middle section (pictures 3-5 and half of 6). By the end we decided to make the movements and vocals more exaggerated implying the group have been effected in some way (either in excitement or nervousness) by Jasmine's visit. In particular when Silas says 'What will they do? Stitch my mouth closed?', we do violent actions and follow the line with Alexis saying 'Yeah stop. Don't ruin the operation.' and all of us finishing her line but saying the sentences in a different order in order to make what we viewed as a "mantra" of sorts more frantic and encourage a discomfort in the audience at the apparent "brainwashing" to comply with these enforced societal values and conventions.

Scene Three:

This scene was the only development we had in Hannah's story, however we wanted the audience to become quite invested in her character to make her ambiguous ending more frustrating, as we felt this was an important part of the play's intentions. We believed it left the play open to discussion as whilst the events surrounding the birthday people were complete and Jasmine's mentality made no room for compromise, Hannah's character is a loose end and therefore allows the audience to discuss what should have happened to her, and what they think would have happened. In order for this to take most effect we ensured that, whilst Hannah was sat at the front speaking out to the audience in a natural manner, the others are very exaggerated and surreal.

Scene Five:

This scene (the first picture) was the first scene we saw of the play and the first time any of us had experimented with total theatre techniques. We took inspiration from Panic! at the Disco's 'This is Gospel' music video, in that we wanted swift hand gestures and a well co-ordinated looking effect.

We then had to transition into a small duologue between Jasmine and Paloma. We decided to have the conversation's key moments marked by Hannah and Chloe's pauses in their repetitive movements. The last line is said by everyone in order to emphasize just how important looking perfect is to these involved.

Transitions:

Our transitions were inspired by the 'Doll on a Music Box' scene from Chitty Chitty Bang Bang. We wanted to use the mechanical movements total theatre uses in a more literal manner, and after discussing how we felt the ambassadors to be encouraging an emotionless, "porcelain doll"-type effect on others, we decided to replicate the staccato movements with the questions seen above directed at the audience in a more sinister illustration on the impact the Beauty Manifesto has on their society.

Costume Changes:

In a play I saw rather recently: Richard the Third, adapted by Crude Apache, the use of torches prompted discussion in our devised lesson. However, whilst we found no use for them in relation to our devised, we became enthused by the idea of using a torch to create shadows in our scripted piece.

We intent to use the sheet on the table, and pick it up and hold it at the front of the stage. The torch will then be switched on and costume will be changed in a stylised manner, with those changing swapping position with those holding the sheet once finished. This should create a version of the above effect.

Costume Choice:

Our costume consists of all four of us (regardless of gender) wearing a skirt and blouse, and then changing into heels and lab coats when we become ambassadors. We decided on this as we wanted something highly feminine and reasonably mobile that was still up for alteration depending on character, but that was also somewhat uniform. We use lab coats and occasionally gloves to maintain the professionalism and authority of the ambassadors, and the high heels to convey the extra step further they go than the birthday people in their strive for perfection.

What We Have Left:

Scene Four-