Group Performance Reflection and Video Link
https://youtu.be/BphfGRTXhTg
If there are four characters, audiences should clearly know whose function is shown in each scene, so we build layers from scene 1 to 4. Having three auxiliary characters and a protagonist, the scene has gradually reflected its theme, confliction, climax, and conclusion. Our strength is showing a clear progression of characters and to clarify relationships and struggles as distinct as we can, which means there are few interferences among four of them. Functions are clear. Son is affected by his family and the overall environment, who is also representing the new generation. Mom is the person living in the center of a storm. Mom always acts depressed and confused by her tone and gestures such as holding her forehead. She has partial rights to guide her life, but Devil and Angle are fighting for the part left. Devil and Angle have two dresses in two opposite colors. Whoever wins is not important, the decision of mother is not the theme or the point of this performance. Son arrives back to the stage at the end. It is clear that the sun will make a decision of this family's future so then the scene ends with a strong, positive monologue.
In usual, audiences like to see a crowd when there is an increasing number of actors. However, each character just stays where they begin for the whole scene. Devil and Angle never leave their spots of arguing from the beginning to the end and the son doesn't leave the space around his bed. This issue is related to the lighting. Since we have less light switching, there were few reminders to audiences about out inflection points in the performance. All of us in the performance had our specific tone, but I think we kept a tone until the end. From the perspectives of audiences, they saw four unique but monotone characters.
Before I walked on the stage, I only told myself to be a positive boy. When he reads, he should read with passion. When she talks to mom, his confidence and eagerness should be prior to his loving care. To be an independent boy, I tried to speak out loud. I strongly waved my arms when I had gestures. Even though my movements are limited by my contexts, I could still make my performance vivid. I could make pauses between my lines to enhance my emotion. I could add more blocking when I had the conversation with mom. It is hard to avoid mistakes, but it is harder to have a better performance.
If there are four characters, audiences should clearly know whose function is shown in each scene, so we build layers from scene 1 to 4. Having three auxiliary characters and a protagonist, the scene has gradually reflected its theme, confliction, climax, and conclusion. Our strength is showing a clear progression of characters and to clarify relationships and struggles as distinct as we can, which means there are few interferences among four of them. Functions are clear. Son is affected by his family and the overall environment, who is also representing the new generation. Mom is the person living in the center of a storm. Mom always acts depressed and confused by her tone and gestures such as holding her forehead. She has partial rights to guide her life, but Devil and Angle are fighting for the part left. Devil and Angle have two dresses in two opposite colors. Whoever wins is not important, the decision of mother is not the theme or the point of this performance. Son arrives back to the stage at the end. It is clear that the sun will make a decision of this family's future so then the scene ends with a strong, positive monologue.
In usual, audiences like to see a crowd when there is an increasing number of actors. However, each character just stays where they begin for the whole scene. Devil and Angle never leave their spots of arguing from the beginning to the end and the son doesn't leave the space around his bed. This issue is related to the lighting. Since we have less light switching, there were few reminders to audiences about out inflection points in the performance. All of us in the performance had our specific tone, but I think we kept a tone until the end. From the perspectives of audiences, they saw four unique but monotone characters.
Before I walked on the stage, I only told myself to be a positive boy. When he reads, he should read with passion. When she talks to mom, his confidence and eagerness should be prior to his loving care. To be an independent boy, I tried to speak out loud. I strongly waved my arms when I had gestures. Even though my movements are limited by my contexts, I could still make my performance vivid. I could make pauses between my lines to enhance my emotion. I could add more blocking when I had the conversation with mom. It is hard to avoid mistakes, but it is harder to have a better performance.
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