I have , in the process of creating a solo performance, recorded the monologues describing feelings of loss. Within this process I have discarded some losses as I must ensure that my tone of voice is different to represent each loss.I have also discarded similar losses, those that are not as applicable to everyone, and have added a concluding statement focusing on losses that are in the back of the mind, but never forgotten. Sometimes parts from discarded losses were added to those which I have kept in the monologue. The script though is a detailed outline. When I recorded it , I improvised, and changed certain parts, just sustained this framework.
This is a copy of the edited , and final script. Loss final script
Now these are recorded I am editing them together and currently vigorously rehearsing these together with live actions.
I now also know the staging and lighting sound effects for my performance. When the audience enter I will be sat at a table with a radio next to me. There will be a dim white wash and a spotlight on me. When the performance begins I will turn on the radio and my monologues will begin . The cue for the end of the performance will be the end of the monologue , as this concludes the lights will slowly fade and the spotlight will disappear.
In addition, my performance should be more than a monologue , taking the audience to another world. I must incorporate the “the gestures, physicality, voice attributes and attitudes that are suggested by the play text” (Anderson, 2006, 5). Movement should be dependent on the character I am creating, maintaining eye contact with the audience throughout. I must reflect the reality of the situations by presenting tensions, resolutions and transitions, all the time being audience indulgent. In addition, it is imperative that I employ pitch, dynamics, and pace to sustain clarity . I must ensure I utilize the space to best suit my character. building the rhythm of the performance , and thus the intensity.
When creating a character , a simple fact is “if you do not find a form of characterization which corresponds to the image, you probably cannot convey to others it’s inner, living spirit” (Anderson, 2006, 61). A relationship with the audience must build so that the solo show is more focused on me as a person than a character. whilst also surprising the audience, in revealing more information than expected. The next step is to explore a range of rhythms when rehearsing , so that the presentation can evoke joy, pathos, humour and anarchy to the audience, and when transitions of mood take place to inform the audience. This then symbolizes the setting , and makes any movements purposeful.
Therefore, my performance to be successful I must portray a journey which I am following, imaginative ideas, a structured use of metaphor (how the losses are represented), and adhere to the time limit allocated.
Works Cited
Anderson, Michael (2006) Solo A guidebook for individual performances, Syndey: Currency Press .
Armstrong, Gareth (2011) So You Want To Do A Solo Show?, London: Nick Hern Books.