Research Presentation Reflection

World Traditional Theatre_Criteria D

Farce Research

[Lesson #59  2019.May. 9th]

On May 9th, I have research about what is French Farce and basic 5 questions (who, what, where, why, and how). Through finding out details about French Farce, I was able to discover that farce and commedia dell arte was kind of similar theatre style.

What is French Farce	Farce is a theatre genre that was created during the “Middle Age” (Medium) Its aim is to make people laugh and have a tendency to be vulgar in order to make the performance comic. This comic dramatic work was made using an exaggerated situation. Farce itself is a style of performance that often makes fun of super-fancy and rich people who only thinks about them. The word ‘Farce” comes from the French word for ‘stuffing’ or ‘padding’. It refers to its original place as a comic interlude within much more serious dramas. It began in France in the 13th century, with a vague starting point. This was created to lighten the mood during the time of conflict. Farce spread through Europe in the 14th century quite quickly. Farce truly came into its own in the 18th century in France, incorporating elements of the visiting Italians’, the commedia dell arte. French Farce is very similar to Commedia dell’arte (Britannica) Both genres rely on physical humor underlying, such as fight, pratfalls, and other physical humor abound. French Farce depends on the recognizable character and the broad situation. (Medium) Like commedia, farce depends on recognizable characters and broad situations. The simple characters of farce often have echoes of their masked commedia counterparts, and the plots are generally hinged on similar topics: marriage, infidelity, and the success of the clever underling. (thedramateacher) The example of the connect is Arlecchino. One of commedia’s clever servant with his traditional weapon names slapstick, which he used on his opponents’ back. This weapon gave its name to a style of physical comedy called ‘Slapstick’. (Medium) Farces are famous for their highly choreographed: door slamming Furniture tripping And this has roots in commedia. Other than basic plot elements, one and only element from commedia was scripted. Lazzi. It was carefully choreographed and rehearsed bits of stage movements, including fighting or acrobats. Entertainment through comedy created by means of sex, violence, and/or absurdity (Free Audio Characterized by physical humor, the use of deliberate absurdity or nonsense.
How did French Farce develop	Outside of Italy, Commedia performers found their next greatest success in France — especially farce. French master playwright Moliere worked with visited Italian commedia troupes and hosted some performances. After Moliere’s work has been spread into words and into many of commedia’s tropes, they made their way into France comedy writing, the French farce.
Who Who were the performers Who was the audience	The actors in these troupes each specialized in a particular character, which could be placed into any situation or plot. They practice themselves as one character, such as young lovers, clever servant. The performers were not locals, but the traveling troupes. Each group had each actor assigned to each character. The stories were often familiar ones, perhaps taken from classical sources, and the actors would improvise their dialogue around that framework, allowing the actors to make a connection with a particular group of audience.
Space Action Design	As the actor stays inside one troupe, they are responsible for particular characters. As one troupe with a lot of actors that can perform diverse stories, they move around the places, out of France, and sometimes even to other countries. Since the troupe moves around quite a lot within one year, their performance area is not fixed but is very flexible. One similarity of all performing area is that the audience is only placed in front of the actors, which is a very traditional performance style.
Performance Conventions	Exaggerated Movement and Voice [Narrative] Over characterization Elaborate unrealistic storylines Dialogue Heavy Physical Humour Often includes families or close friends Over a short period of time [Visual Style] The romanticized view of life Continuity editing Minimalist visual style — simplistic Emphasis on bright color The costume is bold and reminiscent of the time [Performance] Melodramatic Witty and causal dialogue Slapstick Strong interaction between characters.
Specific aspect	The characters inside the performance of French farce are all exaggerating their movements and voice.
Shakespeare	The Merchant of Venice Direct conversation between Sherlock and Portia

 

 

 

Act 3 Run through

[Lesson #58  2019.March. 28th]

Today is the last rehearsal time right before the performance on March 30th Saturday. Because we had act 2 scene 2 run through on Tuesday, we had act 3 run through with all the sets, props and lights. Act 3 had Act 2 scene 2 actors, directors and designers watching the performance and gave them a recommendation and comments on the performance. There weren’t a lot of changes made in act 3 since act 3 is quite strong and direct scene.

“Top Girls Final performance Reflection”

• How did you feel about your scene performance?
  • What I thought throughout the performance was that actors have really brought their characters alive! Yejoung made neutral but strong and emotional Angie in Act 2 scene 2, Yoona made mischief behaving Kit who fought with Angie but also cares about her, and finally, Soomin brought Joyce who was made about her self’s present but also had admitted her self. Diverse mixtures of emotions were able to be found throughout the performance. Thank you to all of the actors and director, Hyeyoon for working so hard to help actors develop the scene and to help them to memorize the lines.

• What did you learn from watching the performance of your peers?
  • I’ve learned that as much as the distance between the audience and the actors, the more actors should be in their character because every movement each actor take matters to their performance since the audience can see everything that is going on.

• What were some challenging moments during the rehearsal process- what made it challenging?
  • During the rehearsal process with other classmates, I found out that our scene’s set overlaps with the next scene. We had to rearrange the set and practice with the blocking of a relocated set. Even though there weren’t huge changes made to the placement, it is still located in a different place, requiring actors to practice in a new environment to get used to it.

• What did you learn about yourself? (strengths, areas of improvement)
  • Through being part of this amazing performance, I was able to learn about myself that I am now enjoying being director and how I have ideas to make the scene much in-depth with information that was already given from the script.

• How will you apply what you have learned in future drama classes?
  • I will like to participate in future drama classes to give comments on how they analysis one character and make their performance in better form. I believe that actors should have someone to keep give comments about themselves because they don’t know how they act. So, by having someone who keeps comments about the performance, it will allow the performance to be much stronger.

Act 2 Scene 2 run through

[Lesson #57  2019.March. 26th]

Continuous from yesterday’s class, act 2 scene 2 blocking was almost done in the changed set position. Act 3 actors and directors were sitting in the audience unit as an audience, ready to give feedback to the scene afterward. From below is the note taking that I made during the run through rehearsal and gave actors and directors about the recommendation that they might do like a change from the rehearsal version.

Rehearsal Act 2 Scene 2

[My note]

• Talk the line after you stood up,
  • speaking while standing up breaks the breath
• Kit can act as if she is walking on the line
• Angie and Kit should move while they are sitting down a little bit more so that people at the back can look her face
  • Stage right should be much organized
• Pauses during each line can be longer
• Play with the angle of your body much more
  • too much staying the same angle
• It feels that you are moving according to the script ( felt planned)
  • Joyce: Play with the speed

[Comments]

Joyce can walk around the tipi = round

• If I don’t get away from here, I am going to die.
• ‘Now shut up give us a cuddle’
  • Angie can lean on Kit
  • Kit can have her arm on Angie
• unnaturally be much slower
  • give the audience time to understand
• Can make Angie much brighter
  • Angie enjoys the idea that her mother hates her aunt
• Emphasis on “can’t” (KIT)
  • That all right then <— Emphasis (KIT)
• React to the rain sound
• While blackout, Kit pulls Angie towards the house
• practice the end of the scene
  • with Kit and Joyce
    • Joyce listen to her voice
      • Joyce should control the space
        • ex) Walk around Kit while speaking
      • Speak louder Joyce