Scripting the Compositions PART #1

This group will need to script the scene - describing all of the physical action that takes place - in sequence and the lines to be used and delivered in the correct sequence.

Opening - Live Lord Titus Long....

through to

The lines when Laura speaks on the tall tower.....everyone snaking down...

leave room to include lighting and sound effects.

Artistic Endeavour which encapsualtes Lavinia

It would be lovely...considering there are many budding artists within our ensemble to showcase this talent. As an idea for the 'foyer' area, or where our guests will enter..... each of you could draw, paint, sculpt, an image in which you think captures the essence of Lavinia in this composition....what do you think?....this would be seen as part of the 'forming' process for the assessment of this piece....

Ingredients for Great Compositions

Is there a journey in the composition the ensemble has created thus far for Lavinia? Is there room to explore the ingredient of 'extreme chaos' and 'extreme calm' in the composition as it stands?

It has been said that we as an ensemble encompass the earthly element of 'WATER' in our presence and creation of Lavinia. How can we incorporate this element in the character of Lavinia...what viewpoints can we explore in order to do this....

VIEW POINTS:- spatial relationships, shape, architecture, tempo, reptition, gesture, kinaesthetic response

Comment in order to explore your understanding of how our ensemble may explore the composition of such an element....in 'Lavinia'

Journal Entry Three - Extending the Compositions

Describe how the creation of the thematic pieces assisted in readying you for the text pieces. What skills did you use, and how have you modified these skills in your textual compositions? At this point, also describe the process you used to create the transitions between your 3 eyes open/eyes closed theme scenes... to make it run as one full scene. What difficulties did you experience here? How well did this full thematic scene run?

Journal Entry Two - Themes

Think back to the day that we worked on themes. They were 'Hunted', 'Silenced' and 'Telling Tales'. In this journal entry, descibe your group, the steps you went through to create your 3 eyes open / eyes closed scenes, how you used the space and if you can rememebr, what you personally contributed to the group. Also comment on the performance experience. How was it when you performed this way for the first time? What worked, what didn't?

Journal Entry One - 4 Core Principles

Cast your memories back to our first encounter with Tora and the 4 Core Principles of Zen Zen Zo Physical theatre making....

What are the 4 Core Principles and are they important to the development of the compositions for 'Lavinia' so far? How and why....in what ways have these skills enhanced your awareness of theatre making in an ensemble? Have these skills equipped you as a performer and creator of physical theatre? How?

Demetrius speaks love - Aaron speaks hate

Aaron says the following just after Tamora's son Demetrius has professed his love for Lavinia:-

Demetrius:
She is a woman, therefore may be wooed;
She is a woman, therefore may be won;
She is Lavinia, therefore must be loved.

Aaron:
...My Lords, asolemn hunting is in hand;
...The forest walks are wide and spacious,
And many unfrequented plots there are,
Fitted by kind for rape and villainy.
...There speak and strike, brave boys, and take your turns;
There serve your lust, shadowed from heaven's eye,
And revel in Lavinia's treasury.

Act II Sc 1 Lines 90 - 130

Such loving words from Tamora's son....or are they? Then to such evil and vile words from the mouth of a Moor, who is to survive the deaths of those he surrounds himself with. Do we as an ensemble need to further explore the physicality of the brutality committed against Lavinia by those who loved to hate her? How could this be explored?

Lavinia - Who is she?

Who is Lavinia to you? As a performer, as a woman, as a man, as a teller of this grotesque story...who is Lavinia? Use the text extracts you have been given to comment and develop an informed opinion of who this Lavinia is. You may even need to consider who and what worth she has to those around her....sorry to sound like an English teacher...but....how do other characters perceive Lavinia as a person, as a daughter?

Lavinia and Titus Relationship

As per workshops we have diuscussed the lack of obvious relationship between Lavinia and Titus. I believe this is quite a pertinent issue with regard to our composition as it stands. In our last face to face session together we decided to include further extracts and text in order to ensure this key relationship was and is not lost. Given that our composition is a piece dedicated to the physical theatre form I would like you to comment on ways in which this relationship can also be physicalised. Consider elements of a father / daughter relationship...consider your own father/daughter relationships...even if this may be father (in heaven) or absence of a father - what are your ideals of this relationship? What can you visualise as a new addition to our composition to exploit this fact? Think on music, text, visual images, or sharing your thoughts as to how this can be better conveyed to our audience...