The Final Performance on March 25

Juxtaposition of grotesque and women’s love

Medusa <-> Love

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The performance started with a masculine narrative..

MACBETH Call ’em. Let me see ’em.

Tell me thou unknown power –

Whate’er thou art, for thy good caution, thanks.

Thou hast harped my fear aright. But one word more –

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Thrice the binder cat has mewed

Thrice, and once the hedge-pig whined

  • The green fabrics and serpentine masks indicated that we were depicting the Medusa.
  • There was a mistake because I gave a cue to Lynn before Irene went to her starting position.

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Harpier Cries “‘Tis time, ‘Tis time”

  • Spatial Relationship : We are equidistant to next person.
  • Transformation of Character : I had been in charge of the voice of Macbeth, then transformed to Medusa.

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Round about the cauldron go,

In the poisoned entrails throw.

Toad, that under cold stone

  • Kinesthetic Response : Sunhee’s shout is considered an external stimulus to me and Irene.
  • In Sunhee’s monologue scene, Madness had to be dominant mood that the audience had to sense.
  • Extremity: Her speaking and walking tempo was extremely fast and extremely slow. (Level 3 & Level 6)
  • After the performance, Sunhee confessed that she made a mistake in terms of her lines, however, I didn’t notice her mistake during the performance because her improvisation

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Days and nights has thirty-one

Sweltered venom sleeping got,

Boil thou first i’ th’ charmèd pot.

  • Gesture
  • Happy accident: We were supposed to do the choreography in unison, but did in cannon in the actual performance. Even though it saws out of my expectation, it looked great – even better!.

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Double, Double, toil and trouble

  • Moment of Silence
  • Revelation of object : Although it was nearly visible, we had a circle on our hands. The circle sign symbolized the CAULDRON(Architecture)

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Fire burn and cauldron bubble

  • Broken Expectations & Interesting Relationships with the audience : We, the medusas, got out of the stage and went to the audience’s spot.
  • 7 levels of tension – Level 5

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Fillet of a fenny snake,

In the cauldron boil and bake.

Eye of newt and toe of frog,

Wool of bat and tongue of dog,

Adder’s fork and blind-worm’s sting,

Lizard’s leg and owlet’s wing,

For a charm of powerful trouble,Like a hell-broth boil and bubble.

  • Before Irene started speaking, we all stand back to the audience to bring massive tension(Level 7) , but we were not successful in staying still
  • Unexpected situation: The audience was supposed to be sit in a circle so that we could surround them, but we didn’t inform them in advance. So we created invisible circle, preventing that the audience was sitting in a circle.
  • Repetition of the gesture we did previously
  • Whispering : Echoing Irene’s words
  • At the end of the Second witch’s line, we surrounded the audience in an elliptical circle => CAULDRON (Architecture)

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Scale of dragon, tooth of wolf,

Witches’ mummy, maw and gulf

Of the ravined salt-sea shark,

Root of hemlock digged i’ th’ dark,

Liver of blaspheming Jew,

  • Transformation of Character : Medusa (Gruesome) -> Narrator (Scared, Fearful,Tension 7)
  • Audience had a massive influence on me at that time
  • Narrative was inspired from the LION BOY

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Gall of goat and slips of yew
Slivered in the moon’s eclipse,
Nose of Turk and Tartar’s lips,
Finger of birth-strangled babe
Ditch-delivered by a drab,
Make the gruel thick and slab.
Add thereto a tiger’s chaudron,
For the ingredients of our cauldron.
  • Transformation of Character: Narrator -> Medusa
  • Transformation of Object : Book (Shakespears Literature) -> Book (Recipe for the cauldron)
  • Interesting Relationships with the audience = Wow moments

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Double, double toil and trouble,
Fire burn and cauldron bubble.
  • There was a silent moment when I folded the book (Duration)
  • Suzuki –  The Walk

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Cool it with a baboon’s blood,
Then the charm is firm and good.
By the pricking of my thumbs,
Something wicked this way comes.
Open, locks,
Whoever knocks.
  • We attempted to engage the audience in the scene by making them read the book
  • Pricking gesture : We pricked the wickedness in the air
  • Knock-Knock sound indicated the emergence of Macbeth.
  • We went back to our starting position and the performance ended. -> The Cycle of Medusa’s Life
    • The story never ends
  • My biggest weakness
    •  Since I transformed to BHA, I have been exposed to various opportunities , including MYP drama class, the production and the Clan theatre competition, that morphed me into a better actor. I significantly developed over 6 months, at the same time, I began to feel difficulties.
    • I began to noticing my personal limitation: My energy comes from the audience’s energy. So to say, I am able to generate theatrical energy once I absorb the adrenaline from the audience. If this energy is too much for me to handle, it often ends up with mistakes.  This hinders me from being a genuine actor.
    • Am I capable of conquering my limitation and being a better actor? Am I capable of handling all the tasks that will be given to me in next 2 years?
    • What are the ways I can do? How can I go beyond my personal limitation as an actor?
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2 thoughts on “The Final Performance on March 25

  1. Am I capable of conquering my limitation and being a better actor?
    YES – I have seen it this week.

    Am I capable of handling all the tasks that will be given to me in next 2 years?
    YES

    You will learn how to channel and control your adrenaline in order to use it to your advantage. It will take practice, which is something you have got from your participation in The Factory. You should find that you are more confident now.

    Like

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