Juxtaposition of grotesque and women’s love
Medusa <-> Love
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 –
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.
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.
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
Days and nights has thirty-one
Sweltered venom sleeping got,
Boil thou first i’ th’ charmèd pot.
- 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!.
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)
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
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)
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
Gall of goat and slips of yewSlivered in the moon’s eclipse,Nose of Turk and Tartar’s lips,Finger of birth-strangled babeDitch-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
Double, double toil and trouble,Fire burn and cauldron bubble.
- There was a silent moment when I folded the book (Duration)
- Suzuki – The Walk
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?