During this rehearsal i leant alot about Gordon and his gait as a person. Gordon doesnt move his hands around like yaniv does. Nor does he use them as a mean of expression rather he does use them whilst talking but not eccessively. He is quite balanced. And isnt as self concious as i thought he was. He isnt a three year old waiting for his mum to pick him up from school (re: the first scene) He is a man in his thirties waiting for a friend and his friend who doesnt want to attract any unecessary attention.

Also Damaturgy:
I need to see all your ideas/drafts that you have recorded for your stage craft elements to make sure that you are progressing according to our vision.

You know when you sing and your voice gets really sore, well the same stands for acting. You must be using your neck muscle’s instead of your ‘Diaphragm!’- a large muscle beginning at the bottom of your ribs which goes to your abdomen, a muscle which you can use alternatively in order to have more breathe whilst singing and acting especially during soliloquis. We lay down on the floor in order to relax all muscles and really felt that we were breathing from some other place…the ‘Diaphragm!’. We did an activity where we let all the breathe out of our bodies and relaxed the abdominal muscles them let breathe in. As opposed to breathing from our stomach/abs we used our diaphragm which allowed all the air back into our bodies filling the diaphragm. The point of the workshop was to help us to use our voice on stage so that it will help us utilize how much breathe must be used and at which point.

A really important and beneficial part of putting on a play is the character development. Scotty ran a workshop based on the parts of your body, how you move them in order to create a character:
Everyone was told to close their eyes, to imagine a a dark tunnel with a light coming towards you. You see someone coming towards you, you dont quite know who it is but they are slowly coming closer. They come right up to you (in this case it was Paula and Stephen). Let yourself go, leave yourself behind and enter the body of this character. You are no longer yourself, that means your physical appearance is now the characters, the way you walk look and feel. Open your eyes and begin walking (develope the characters walk). Think of the characters emotions; their happy emotions which therefore changes their walk and demeanor, and their sad. Walk back to were you left your body and re enter your body, slowly watch the character walk away, therefore your physicality returning.
-such a workshop really gives you an insight into who your character is; the walk, the emotions, how their emotions alter their walk etc. It puts you in sitations where you (as your character) must react which therefore shapes your perception of the character.

Additional things to think about:
-Tension; where are Gordons tensions?
-Movement: Leading with you Head (aware of the world) , Pelvis (oblivious to surroundings/ confidence?), Chest (confident/ego?)
-Gesture and voice: comes from the movement
-Gordon would lead from his head.

Gordon is on stage for the majority of the play. These questions must be answered in order to develope Gordon as a character:

1. How is he feeling/ reacting to/ influenced by the scenes he observes?
-He learns about all the characters as he sits and listens- trying not to be conspicuous
-There is little reaction by Gordon to the conversations as he tries not to show obviously that he is listening (though it should be noticable that he is listening).

2. He does he develope a relationship with each lead character and why?
-Stephen: Gordon’s intentions are that he is at a ‘boy’s dinner’ which gives him the opportunity to open up about his depressing past. He opens up to Stephen about his ex wife- this influences their relationship.
-Paula: introduces herself whilst not in the pressence of Dympie. She seems quite fond of him.
-Dympie: When Paula leaves, Dympie makes conversation with Gordon. Gordon feels intimidated, inferior to her as he already knows what kind of person she is from observing.
-He feels quite uncomfterble as she questions his conversation with Paula.

3.What is his journey and how has he been changed by the end of the play?
-He is divorced
-Seems to be quite closed and reserved in his thoughts but opens up about his feelings

-Dympie introduces herself.
-Gordon is intimidated and feels inferior to her as he already knows what kind of person she is from observing.
-He feels quite uncomfterble as she questions his conversation with Paula.

-Gordon, for the majority of the play is sitting, overhearing conversations but trying not to be conspicuous.
-He sits as though he is protecting himself: withhis legs together, bound up, maybe trying to open up, stressed.
-Realisation of character- is the realisation that the character is a real person, who has a background, backstory, who continues to live after the play. To realise a character is to realise all these things
-A relationship between paula and Gordon begins when Paula is not in the pressence of Dympie who overpowers her. She introduces herself and comes across quite eager to meet him.

-Status: Low status: containing, protecting, introvert
High status: ignorant, arrogant, extrovert
-Gordon whom has low status insists that he does not drink as it tends “to make me sick”
-Stephen peer pressures Gordon into drinking
-He ends up thanking Stephen for getting him a drink which he initially doesnt want.
-His low status is clearly evident and reflects a whole lot on what kind of person he is: self conscious, easily influenced

-We began blocking from page 1-14
-I began to think about the things Gordon does as a character and relate them to myself:
-Character development-Gordon, self conscious about being alone waiting at a table, speaking and being ignored.
-What is Gordon’s relationship to Stephen?
Gordon does not know Stephen, but gets stuck with him for the duration of a night, after dinner (and before) as their mutual friend Brendon has not turned up.
-Similarities to Gordon (Personalities):
think about what it is like to be alone, sitting/waiting, what do you do to occupy yourself/pass the time, how would you look
- watch other people in the restaurant, look for the waiter, be self conscious, think about how others percieve someone alone, find things to occupy yourself: the print on the wall, the menu, salt and pepper.

1. How has the work you are doing been refined and developed over time?
My work related to dramaturgy has developed over time as I am collecting more and more information. Therefore as my work progresses so does my understanding of the play, era and characters. The process a cast goes through in order to put on a play is a process which gives the actors/directors a greater understanding of the script and individual characters. We had a cold read of the text and now are blocking the play from beginning to end. Every lesson adds to my understanding thus my work’s development.

2. How have you clearly shown your ability to work collaboratively?
As a dramaturge I think the task compliments working collaboratively in a group as the dramaturge works for the group, to give them information and an insight into the play, its history and previous productions of the play. I created a ‘dramaturgical compost’ in order for our company to use collaboratively and document the process collaboratively. I also created a play synopsis for the benefit of the group’s understanding of the play.

3. In what way’s have your ideas and concepts influenced the work of others?
I believe the synopsis i wrote about the play gave insight to the actors about the characters they play. in addition it gave an overall background to the play which contibutes to ones understanding of the play.

4. How has your work demonstrated the ways different stagecraft can be used to help to shape a peice of theatre?
My stagecraft area’s are dramaturge and acting. I dont think acting has had a significant role in the production planning. But dramaturgy is a role that help’s and assists the other areas to create and execute the vision planned. I have created a ‘Dramaturgical compost’ which has helped to define the vision of the play. And written a synopsis which allows all of the company to understand the play.

5. In what ways have you been able to demonsrate your application of stagecraft?
The application of dramaturgy in the production of the play is to make sure it progresses according to the vision. I have given out a synopsis of the play to make sure that the actors and company have a detailed understanding of the play.

As the dramaturg I went through the script and took notes on what was relevant for the Actors in the play:
-Gordon: a Bank worker, mid thirties. Self consciously sitting, waiting for the waitor to acknowledge him. He is kind as he offers him assistance to the women sitting at the table next to him. He is recently divorced. After the divorce he isolated himslef and hasnt been our for a while he also doesnt like himself very much. He opens up about him ex-wife and their sexual relations to Stephen. Stephen warms up to gim and starts to admire him honesty. He too ends up sitting next to Paula, they both like eachother. He asks Dympie to dance as a favour to Paula and looks at Paula while dancing with Dympie.
-Dympie: is impatient, insensitive and unwilling to change to suit the situation. she is told by Paula that her peers at work call her ‘Dumpie Dympie’, this is a reality shock to Dympie who realises that she is rather sour and lonely.
-Paula: is a loyal friend and could be concidered the ’stupid one’. she is sensitive towards Monika and has an outburst about Dympie’s attitude. She ends up with Gordon after dinner.
-Monika: is dealing with deppression after her husband ‘Martin’ dies. Despite this she comes out to dinner to enjoy a night out with her present best friends. she dissapears to the bathroom after making an emotional scene in the restaurant and goes on an adventure including valium, men and is raped. she comes back and end up with Stephen.
-Stephen: percieved as a sleeze by those around him. He learns to like Gordon and admires his honesty. After a while he opens up and confesses that he in 36 and ready to settle down, to love someone. He ends up with Monika.