Creative Rehearsal Process
How is the initial material being researched and developed at significant stages during the process of creating drama?
The stimulus material we were initially provided with; and that we continued to assemble ourselves; was crucial in the developing process, particularly in creating a specific form, content and structure for our piece. At the outset we were provided with numerous stimuli open to our own interpretation. One of these was two ‘spells’, and another was a CD, to which we listened to some of the tracks and then concluded what emotions it provoked, and the overriding one was fear. So we took this emotion, and discussed what other sounds/songs we felt provoked likewise. Ideas brainstormed were that such as church bells and other religious sounds (partly inspired by the ‘spells’), wind, silence, scratching and screaming. We created a sound scape entailing some of these, and when experimenting found that darkness accompanying the sound increased the emotion of fear greatly. As a result we decided it would need to be a key factor within our piece if wanting to create this emotion. Another was sketches by different artist’s interpretation of witches/witchcraft/witch hunts. Many of which were what could be seen as ‘typical’, of old women burning at a stake, or on a broomstick. However a particular image by Linda Sutton, adopted an alternating portrayal. The ‘witches’ do not look unfriendly, and their state of exposure forms an essence of vulnerability. Furthermore they appear to be more contemporary than traditional witches. This inspired us not to necessarily focus on positive themes, but to consider an alternating stance than the conventional one of witchery may concur. Once we had gathered a significant amount of material to make generalizations, we mind mapped all of the themes that were inspired from such. We then furthered to organize these under specific headings, as by doing so we could see the genre the collection of themes that
The stimulus material we were initially provided with; and that we continued to assemble ourselves; was crucial in the developing process, particularly in creating a specific form, content and structure for our piece. At the outset we were provided with numerous stimuli open to our own interpretation. One of these was two ‘spells’, and another was a CD, to which we listened to some of the tracks and then concluded what emotions it provoked, and the overriding one was fear. So we took this emotion, and discussed what other sounds/songs we felt provoked likewise. Ideas brainstormed were that such as church bells and other religious sounds (partly inspired by the ‘spells’), wind, silence, scratching and screaming. We created a sound scape entailing some of these, and when experimenting found that darkness accompanying the sound increased the emotion of fear greatly. As a result we decided it would need to be a key factor within our piece if wanting to create this emotion. Another was sketches by different artist’s interpretation of witches/witchcraft/witch hunts. Many of which were what could be seen as ‘typical’, of old women burning at a stake, or on a broomstick. However a particular image by Linda Sutton, adopted an alternating portrayal. The ‘witches’ do not look unfriendly, and their state of exposure forms an essence of vulnerability. Furthermore they appear to be more contemporary than traditional witches. This inspired us not to necessarily focus on positive themes, but to consider an alternating stance than the conventional one of witchery may concur. Once we had gathered a significant amount of material to make generalizations, we mind mapped all of the themes that were inspired from such. We then furthered to organize these under specific headings, as by doing so we could see the genre the collection of themes that