Rehearsal 03/06

Felt a bit weak.
We did a warm-up.
Wasn't enthusiastic but once I started acting I got in the zone.
The bouncing balls going ping-pong tested my patience and so did the technical aspect of moving round the stage. Time went quick and I enjoyed the smoke break. Came back with fresh vigour. The old gentleman I was playing was good fun and I enjoyed my use of voice to portray him. Not everyone was involved in this rehearsal and they were just sitting around but the researcher said my stage presence and physicality was good. Time went quickly and I wasn't looking at my watch.
I feel the production for the Theatre Royal could be longer but I feel the quality is good.

Giles

Kafka Reflections

The warm up to the rehearsal was about connecting together as a cast. The exercises we did were difficult to get into. Particularly when we had to move around the space and feel the energy together in order to stop then carry on moving. The idea was that we all worked as a team to stop moving and no one felt that they had the responsibility on there own. I think the group may have needed a little more patience with engaging in this particular exercise. What I understood from it was that it was not an exercise that is going to have positive results straight away, the group need to settle into it and begin to connect with the exercise and as a group over time.
The counting exercise worked a lot better as we stood in a circle, closed our eyes and counted to ten. If two people went to say the same next number at the same time we had to go back to the beginning. The idea was to get to 20, which we managed to do. We had played this game before as a group, but it seemed to work a lot better in this session as we connected as a team.

We worked on the scene with Bendemann and the ghost.
The way in which we approached the staging was what Juliet normally does with us, we improvised, running the script through and doing whatever feels natural.
This particular way of working is very beneficial as a way of approaching the scene on stage for the first time. The cast are able to take part in presenting ideas to the director as oppose to the direction just being on behalf of Juliet. I can imagine that it is also very useful for Juliet and provides her with more ideas to staging etc.
The thing that was difficult with this particular part to the performance was the fact that the ghost is not technically performed by a one of the cast, as there will be a use of a sort of puppet. As a consequence the setting will be a lot different and the direction of the ghost will be different.

It can be difficult sitting, waiting, watching for your part in the script to arrive but I find it interesting to watch other people work. You can learn so much from watching other people in the process of making, creating, performing and learning. I have noticed that within the company everybody learns differently. Some can learn by being told how something works, other have to see it, whilst there are performers who must experience it in order to understand. What also works in the company is that it is about the whole groups input and suggestions are always welcome.

I feel very lucky to be performing alongside the company, and with a director like Juliet. My learning is expanding in performing, team work, taking direction, connecting to the people around you and understanding the diversity of other peoples learning.

Gina

Reflections of Kafka - 20th May

Tonight, first of all we went over the introductory scene. Where I, and the majority of the cast. Do three sleeping movements. Which become more restless after time. This was good, as it helps it become instinctual. Which I like for memories sake.

Then Mark and Ros worked on the Grandfather scene.

Then we all choose a persons strut. I choose someone’s strut, who is in protection. Which I do in a M shape across the stage.

And the final piece of the script we learned. Was highly significant to me. I particularly enjoyed reciting the script. I’d been learning it all week. I remembered most of it. But I felt a total transition, in my performance, after Juliet’s coaching. It felt great. We went over quite a lot of painstaking detail. And added a kind of make believe, happy ending pose, with me and Ros. Tonight I learnt a lot about expressing myself. About passion. A lot about eye contact. I felt the reward of getting out of what you put in. An I put a lot in! I felt a leap. In the direction of improving my acting. Which is what I fundamentally want. To improve my acting.

In response to the question, what does it mean to me to be performing at the theatre royal. It means the world. If someone had told me along time ago, I’d be performing at the theatre royal. I’d have said. “ What? Me an actor!” I would have laughed.

In terms of how it effects the company, it’s one hundred percent magic. It started off as something to do. But now, it’s like a white lights shining down, an I may even take on a part time degree in Theatre at St Johns. I hope we will achieve, a great deal of growth as actors. And for me personally a lot of growth regarding my illness. Confidence boost!
I also hope Out of Characters reputation will strengthen because of the theatre royal performance.

We have also done an will be doing a lot of physical theatre. I have never fine tuned such subtle skills before. All in all, a brilliant two an a half hours!

Tom

Kafka Rehearsals

Script work continued this week with the company trying to get to grips with the staging of the opening two scenes. There's alot of physical movement involved and we're trying to be loosely synchronised with each other. Which isn't easy when you have your eyes closed for part of it. Hopefully it will look great.

Also we're having to keep in mind how much space we will actually have, especially once we have some form of set. Juliet's ideas for it and how it will be used should look really exciting. I've had some interesting discussions with her about the set, and while I would like to design something epic - there's just the small problem of space...materials...my lack of knowledge...space...and of course money.

Although we've been developing work for a few weeks and even have a script, it still feels a bit unreal that we're set to perform at York Theatre Royal. Then last week I saw the large promo poster outside the theatre. I guess there's no denying they really are expecting a show. Best get learning those lines!

Mark

Kafka Update - Scripts and Posters!

Last Thursday's rehearsal was an exciting one indeed - scripts! If that weren't enough leaflets are now available and our name is literally in lights (or a lightbox at least) outside the theatre royal!

The shape of the show is taking form and the cast had their first read through, finding out for the first time which parts they would be playing and what aspects of our divised work have made it through into the text.

Juliet has worked really hard to create a script which weaves Kafka's text with our interpretations of his work to develop something which has a real Out of Character flavour!

I am really excited about the physicality of the piece and the space for sequences and movement as a cast.

Watch this space for weekly updates and reflections from members of the cast as we progress to performance.

Gemma

Performance Date for your diary!

Out of Character will be performing 'Episodes' at 6pm on Saturday 8th May at York St John University, York.
For more details, directions and to reserve a seat please email g.alldred@yorksj.ac.uk

Applause from Lancaster

A selection of feedback from our fantastic Lancaster audience who came to see us at the Mental Health in Higher Education Conference

‘This was a profoundly moving and disturbing experience – an emotional rollercoaster. I liked the honesty of this and I appreciated the skill.’

‘For me the performance provoked contradictory emotions of discomfort, humour, compassion and guilt.’

‘Your performance took me through a whole range of emotions: sadness, joy, despair, frustration etc (from a mental health professional and survivor of the oppressive mental health system)’

‘Great stuff: lovely dry humour....subverting the role of audience and who is subject/object’

‘Powerful, funny, moving, unnerving, thought provoking: a rollercoaster ride’

‘Excellent issue-based high quality theatre’

‘A talented group with lived experience, truth and art, important messages – pushing the boundaries to get to the truth.’

‘You have conveyed the essence of the experience in an accessible, authentic and interesting way’

‘Lovely balance of humour, truth and uncomfortable feelings’

A big thank you to all those who supported our performance at the conference, for more details please don't hesitate to contact us - g.alldred@yorksj.ac.uk

Episodes - in rehearsal

'Paranoia'

'Dipixel Shuffle'