Workshop One – Scene Entrances & Exits/ Physical Levels
In the novel Stanhope has the most physical status, not just because of his rank but also because people look up to him. Stanhope may rank the social hierarchy level amongst his fellow comrades but inside he is emotionally distraught, he does not show this and somehow stays head strong, on the other hand there is Hilbert who is tired and has lost all hope and hates the war and then decides he would like to pull out claiming that he has neuralgia but he is just trying to find ways to get home. To create a dugout like entrance we set up a few plinths on top of each other and the lined chairs up behind it creating a walkway which was on the width of our shoulders, this helped us to show great emphasis in our gestus as we clambered in and out of the trench. Workshop Two – Lighting/ Staging
Our stage set was very minimalistic so that we could re-create what it would be like to be in a trench, to help us adapt and realise this we set up chairs as a border and them established a rule stating that venturing outside the border was ‘forbidden’. For our play we had only a few lights on stage, we did this to try and achieve the same amount of minimal lighting just as it would be in the trench. In one of our lesson we even used live candles to help build the low lit and damp surrounding of a trench and we also cramped all of the furniture together to make ourselves adjust to such a small so space just as the soldiers would have had to in journeys end. Workshop Three - Crosscutting
In our third work shop we focused on the dramatic explorative strategy of cross-cutting, first we assembled ourselves into groups with sizes of 2-4 people and then we had to take a scene from the book and re-enact it using the dramatic strategy of cross-cutting. My group chose the scene where Riley dies from a battle wound. To add the element of cross cutting we showed a small part of the scene where riley dies and then we had 2 other scenes which showed his arrival to the regiment, and an argument with Stanhope. The final scene which was a vital part to our short performance included an extended, and more detailed version of riley’s death. The way that we used cross cutting helped us to raise tension in the audience and also made the audience assume a conclusion to our piece or build assumptions on what it was about, but the catch of cross cutting is that no matter what the audience may think the actors always have the ability to twist the last scene and maybe even end the performance on a cliff-hanger.
Workshop Four- Hot seating
In our fourth workshop we used the D.E.S ‘Hot seating’ so that we could have a better understanding and wider knowledge of the characters in journeys end, the vital part of hot seating is that you do not just pretend to be your chosen character but to put yourself in the characters shoes and wield the characters personality, habits and lifestyle. In the work shop we split ourselves into groups of four and then took on characters in the book that we did not know a lot of information about so that we could gain a greater insight into what that character is like. After that we asked our characters questions in which they would have to answer just as their character would as if they were in the same setting as in the book, this gave the other members of the group a chance to note down information on what the character’s personality is like and what their thoughts are in the book. After we had hot seated each member on their chosen character we reformed with the rest of the class and did the same thing. I think that reforming the class and having a bigger audience was a very clever idea as it widened the variety of questions that could be asked about the character and also gave us a larger insight into the characters lives in the book. I feel this workshop went very well because it benefited all in the room and we all shared and therefore gained...