The casting process was short and sweet, you might say. We sat down, Lil told us which characters she wanted us to portray, and we had a read through. Afterwards Lil and Jamie declared themselves happy, and so we were cast. I was disappointed as when I had first reading the script I was worried I would be cast as the Thump, and I wanted to attempt something outside of my comfort zone. I had hoped to have a try at reading for the Twitting, but I did not get this opportunity On reflection I have to agree with what Lil and Jamie did. Time was short, and we could not waste more of it by over prolonging the casting process. I came to find some enjoyment in playing the Thump, and though I felt being cast in this part was somewhat obvious, there is a reason that this might be so. That you simply suit the character. Also Philippa was well cast as the Twitting. I began looking at the character in a basic way, how would he move? How would he speak? And found a very early starting point, I walked with a hunch, and my steps were large but slow. I had been assigned the task of utilising the characteristics of the vulture into my performance, and I felt the character should be old, an elder of the cage. I asked that a walking stick be part of my costume very early in the process so I could begin rehearsing with it as early as possible and attempt make this prop an extension of my own physicality. The stick became my leading movement of my character, my body would follow it. The sound it creates when it hits the floor is an authoritative, brash, noise.
Having received feedback that my physicality would require more work I looked at Paul Elsam’s five variables of performance for the actors body. Tension, height, openness, space and eye contact. Or THOSE, as he refers to it. Due to the nature of the Thump as a character, he is old and prejudiced on a widespread scale, even though he doesn’t understand what this prejudice is, or why he is acting towards it in such a way. He is always in a form of conflict within himself, which I feel would create tension. Paul Elsam warns that
‘The actor in performance should use tension with care. The voice is especially susceptible to damage from tension, so try to avoid, even when playing a very tense character, centering your character’s stress in the throat or neck’ (2006, p48)
Heeding this advice I have chosen to apply tension through my hands, and the stick I carry throughout the performance. Their is already a lot of tension in my back and legs simply from the physicality I am applying to my performance, and by applying them through a more visible part of my body, such as my hands/fingers it will be more effective at showing my characters growing mental unease Vocal tension is a risky task to undertake as you can damage your throat and voice if ill prepared. I made sure throughout the rehearsal process that my body, and most importantly, my voice was in a condition to be performed. Group warm up’s were rare in the process, but this did not bother me as I am happy to stretch and do vocal exercises on my own. Displaying tension through voice is difficult, but I feel have developed a way of speaking for the character that is both uncanny and displays his tense nature. With sharp note changes occurring in certain lines, and by varying my inflection, pace and delivery I feel that I have created a voice for the Thump that is unique and my stylistic variations will be able to present the changes in tension and stress that my character is under.
I feel it is important for me to discuss the adjustment of height in the performance, it is an important development, and one of the major challenges and difficulties I am having within Cagebirds. Standing, and moving, with your back bent right over like mine is for the entire show is a strain on both my back and legs, and to combat this I have had to work the muscles in both areas regularly in my own time, as well as resting them sufficiently in between rehearsals. The over exaggerated style I developed eventually led to an idea of duality within the character’s psyche. That the Thump overplays his frailties, this becomes more apparent in moments of fear, and completely so at the climax of the play when the Thump kills the Wild One. Being as tall as I am manipulating my height so that I never stand completely upright until the end of the play assists in adding to the highly dramatic outcome at the end of the play. Forcing myself up slowly I then arched my back and stretched out my arms to convey a bird type mannerism of aggression before swooping forward to grab Alice by the neck. Elsam states ‘People alter their height in relation to others in social situations’ (2006, p52) In my portrayal of the Thump I use my height to adversely effect the scene around me. My character is the most powerful within the cage before the Wild One arrives, and this status qou is restored at the plays end, yet instead of displaying this power through my height I am hiding it underneath a veil of frailness.
The ambient sound we have created for our performance comes from the need of an extra texture to give a convincing insight into life within a bird cage. Before we added this layer the scenes lacked a certain energy, but now the ensemble, rather than struggling to remain focused throughout rehearsals are constantly involved. This both provides atmosphere for the piece, and stimulus for the cast.
‘To create an atmosphere, through improvised sound and movement, which has a direct and visceral effect on the principal actors: the ensemble can improvise strange and abstract moves, rhythmic or atmospheric sounds which help the actors experience aspects of the world of the play such as danger, misery, jealousy, or sensuality’ (Mosely, 2006 p98)
This ever changing atmosphere being triggered by the sounds of the actors brings a sense of an animal like response to the occurrences of the play. Such as the death of the Wild One where the noises will rise and express a wider vocal range to express panic and danger. I developed two main sounds to repeat throughout the performance. One a sound close to the noise a vulture actually makes, and another contrasting low growl like sound to display his age and aggression.
While researching vultures I discovered how they are not so much a bird of prey, but a scavenger despite their large threatening appearance. This fits with the characterisation of the Thump who only finally attacks the Wild One when given the ultimatum of kill her, or leave the cage. This violence is one of necessity, in his mind, rather than an attack of a bird of prey.
Elsam, Paul (2006) Acting characters, A&C Black publishers limited
Mosely, Nick (2006) Acting and Reacting, Nick Hern Books
