IS 2 Assessment: Blog Entry 7

Working Script
DV: Sometimes death is the only way to gain freedom.

Script structure - Episodic

Scene 1 – Exposition of Character and her condition [Fearful, unable to accept the truth, insecurity] – Approx 2.5 mins
Clara is seen on the hospital bed. (Clara’s breathing movements follows the sound) (Sound of breathing)
She wakes up suddenly from her coma (Clara’s raises her chest to catch breath) (breathing speed increases)
She does not know what has happened, where she is and is extremely afraid. (Clara sits out of her body and looks around) (Robert Rich - Refuse fades in)
She sees how everyone is running towards her body and realizes the condition she is in. (Clara stands up and faces her body) (Robert Rich - Refuse plays and continues til end of scene)
She detests how she looks like now and refuses to accept her current physical state (Clara shows discomfort-distortion in body and face)

Scene 2 – Physiotherapists [Resistance, Resentment] – Approx 2.5 mins
Interaction with physiotherapist PT): PT tries her best to help but she doesn’t want to help herself; conflict of interest (Opposing forces/actions- E.g. Dummy sits up and is made to lift her arm but Clara holds her arms and struggles to push it down)
Struggle for freedom

Scene 3 – Hope [Hopeful] – Approx. 2.5 mins
Doctors found a way to cure her (Clara is hopeful and more optimistic – Movements become lighter and less distorted, more flow)
She cooperates with physiotherapist (Follows the movement of the dummy)

Scene 4 – Hope destroyed [Sense of finality, helpless] – Approx 2.5mins
Found to have pneumonia (Movements become heavier and harsh, tensed)
Clara feels that she’s a burden to her loved ones (She hangs herself in front of her body and smiles – she is free of pain and guilt) (Robert Rich’s Pathway plays)

*Sounds for scene 2-4 are not confirmed/decided

Exercises - Movement

I've tried moving around with my legs bent throughout for about 15 mins and it was really tiring. Also, practising to move in slow motion helps muscle control which is very important in Butoh. Hijikata uses physicality to derive the emotions. Comparing Kazuo Ohno and Hijikata (the 2 founders of Butoh), both were at extreme ends of the spectrum: Ohno the light, Hijikata the dark. Both intensities were necessary to combine and create the energy that is butoh. Ohno uses emotions to derive the physicality. Hijikata has a standard form on how actors move (knees but always be bent at lower level, contortion/distortion) but Ohno does not. Imagining images and reacting to them also helps. E.g. Imagining your left arm having many cockroaches on it and right arm having butterflies on it.

I've completed scene 1 and will be showcasing tmr. Hope to receive constructive feedback! :D

http://www2.sbc.edu/honors/HJSpr03/Waring.htm: When a person attempts to obtain the stage of a "butoh body," it is important for the individual to find his/her own reality of how the body exists before transcending into a mental state of nothingness and a physical state of liberation

Costume

Butoh is sometimes characterized as having "intense expressiveness, distorted movements, and grotesque imagery. The limbs and faces of butoh performers are contorted, their costumes are often tattered or intentionally ugly, and the boundaries of physical expression are consistently challenged".The typical costume of butoh dancers is usually (but not always) white body makeup and either a simple leotard, loincloth, or complete nudity. The hair is commonly shaven off. The most familiar movement styles seen in butoh have been slow, contorted, and grotesque movements.

However, this is not always the case. Because the whole idea is behind butoh is to be liberated, there is not one specific technique or style of make-up or costume. Many butoh companies have entirely different techniques. Some use solo work, some use group. Some may leap wildly in a frenzy of motion with loud music, while others perform with no music whatsoever and use subtle, barely recognizable movements. When performing, the dancers' hair may be shaven, wildly teased, or elaborately coifed. Even the traditional white makeup that came from Japanese theater may be replaced with gold, silver, red, or black makeup, or even no makeup at all. Therefore, there can never be one set construct for butoh.

SO..

Hair: Explosive - allows the character to look more aggressive and confused/unstable state of mind

Makeup: white body, May also paint the left side of the face with the nervous system because only the left eye is not paralysed.

Eye and lip make up should look something like that (pale but disturbing): gives tired look and disturbing at the same time (exhaustion due to internal struggle)