How did the group plan for a range of audience responses? Essay

Through our operation we wanted to convey a series of responses from the consultation based or so the many unlike lifes you place experience if you were trapped. As the head didnt really allow for the dynamics you can create with humour, we had to enable the earreach to mentally elucidate their emotional response for each scene, in order for them to savour a new emotional experience. We did this by carefully planning the emotional journey we wanted to repulse them on, by first easing them into feeling scared with the kidnapping scene, and eventually taking them to the paranoia featured in the final scene.We even monitored how the audience responded to the performance by asking them to adjoin in a questionnaire. In the first set of scenes which revolved around the kidnapping of a little girl, we wanted the audience to be hazeed at the fact that this can happen in broad daylight. We therefore set the scene at the end of a initiate day, with the kidnapper s withald in audi ences view watching the little girl. This immediately creates suspense within the audience as they know something is going to happen. When the girl slowly follows her and reluctantly holds her hand we wanted the audience to feel shock and helplessness.The second part of this scene was a news report on the kidnapping. This scene was one that we plan to be short, yet grasp the audiences attention and constrain them realise the seriousness of the situation. though this scene was simple with its lighting and no sound effects, it was evident that the audience felt concerned. One of the scenes where we mean to emotionally shock the audience was mentioned many times by means of the questionnaires. It was the scene in which the mother interacts with the audience. For this we think to use a Brechtian technique of faulting the fourth wall, and mingling with the audience.We wanted her tone of voice to be very screechy and powerless to shock the audience into really believing that she has lost her child, and the use of fold up eye contact makes them feel inadequate to help. The audience said that they felt disturbed by indecorum of the interaction between Laura (the mother) and themselves. We wanted to continue the Brechtian theme through the use of placards, as they create ocular captions that interrupt and summarize the action. We planned to shout at the audience to make them feel uncomfortable.A nonher channelize is made when we add some loud and fast drum and bass music, and in corporate wink lights. We thought that by creating something visually stimulating, we could make the audience feel vulnerable. Using physical field of study, we as a group wanted to physically represent being trapped. Charlotte (who played the girl being kidnapped), and then violently shaking and moving whilst Charlotte set abouts, yet fails to escape and reach out. We planned to provoke an emotion of vulnerability and impotence but in such a way, that it would shock the audience. The use of physical theatre explicitly allows the audience to actually see the scene, and leaves it open to interpretation. Also, the anorexia scene was a mixture of both naturalism with the component part of Sophie and surrealism, in that Charlotte is physically representing anorexia. This in its testify right should make the audience uncomfortable and nervous. Like Antonin Artauds theatre of cruelty, we wanted to create a character thats physical representation would shatter the false populace and disturb the audience. That is how we came up with Annas character.However we firstly wanted the audience to feel sorry for Sophie (the character with anorexia, played by me), so we gave her a monologue in which she gradually became weaker as she was talking. This use of breaking the fourth wall by addressing the audience was intentional, as it would create an intimate connection with the audience. I started come to with a confident tone of voice, but gradually got quieter and my bo dy language more timid as I came to the end of my monologue. We thought that the use of monologues would help to engage the audience.The emotional journey we planned to take Sophie on was to give her a range of emotions, so the scene didnt become dull and lose audience interest. The contrasts of the shouting at Anna, and then running away crying, were an attempt to take the audience on the same journey I was experiencing. When Sophie collapses at the end, it signifies her physical and mental exhaustion, that again we wanted the audience to feel after watching the performance. The poverty scene was employ, in order to show the selfishness within our society, and how we turn a blind eye to what is right in front of us.We wanted to use physical theatre to make the piece quite abstract. In order to do this we again thought a Brectian technique would prevail well, as we didnt want the audience to be spoon fed there emotions. This method of distancing ourselves from the audience was a great way of allowing the audience to question what they are seeing. We wanted them to create there own interpretation of the scene and how they really felt about the issue of poverty. As there were no words, we used music which we felt embodied a lot of feeling. At one point in the music, the cycles/second kindd.We decided this would be a good point to interact with the audience, so we looked up and stared at them. This was an attempt to single out the audience members, in a way as if to say you can change this. We also repeated the scene again but with masks. We wanted to represent the facelessness of society, and how people are too self involved to see what is going on around them. However, after reading the questionnaires we had asked the audience to fill in, many of them wrote down that they didnt understand the scene, especially when with the masks.We maybe could have thought this scene through a little more, and perhaps not have used the masks as it just seemed to confuse t he audience, which we did not want to do. In conclusion, the groups plan for a range of audience responses was really dependant on what typewrite of technique we wished to follow. As we have studied many practitioners and their theories we felt that using a variety of different acting styles and techniques, we could plan and create our desired audience responses. However, we also had to consider the genre and context of the scene, so that we could create the response that we wished the audience to have.