SOLECA TEATRO COMPANY
ABOUT ME
Writer, Dramaturg, and Actress
My name is Georgina Puig. I am a 22-years-old Catalan Actress about to graduate in Drama degree at Canterbury Christ Church University. I’ve been studying acting for about 9 years, being involved in many different projects.
My role in this project was as a dramaturg and co-writer. This meant it was my job to write the script and work with the other member of the project to, hand to hand with the set designer, the actors, director, and sound “designer” to make sure the dramaturgs vision was going to be well executed. As an actress, I play the role of Carolina. I also had to be involved in Marketing, on doing the videos and the dramaturgs got in charge of managing and organizing the performance on Instagram.
In my opinion, actors are very fortunate workers because they can earn a living from doing what others would call play. I am passionate about acting because it’s both disciplined and fun.
INDEX
Welcome to dramaturgy and writing
Beginings
First decisions
First research about immersive theatre
Research question
How does performing a play in a prison can give the audience a new perspective About mental health issue
Mental asylum, the first written idea
Another option: femininity
And a workshop helped us!
Prison as a vehicle of the storytelling of isolation
Outbreak
Covid.19: The challenge we faced
Inspired by art in social media
Great inspiration
'What happens in quarantine stays in'
The idea and the first script
Isolation research and exercise
Background
Guiding
Set designing
Interaction problem
About live video
Collaborative dramaturgy
Improvisation
Final script
Role Actress
Character choices
Olina
Color blue meaning
Acting choices
Improvisation and interaction with the audience
Welcome to extra work
Poster
Reflection
Bibliography
Welcome to
DRAMATURGY & WRITING
BEGINNINGS
First decisions
Ivana, Luna and I have been the dramaturgs and writers during this journey.
In the early beginning, the group made two decisions: we decided that we wanted to do a site-specific performance. We all agreed we wanted to do something different, something bolder. And following this decision, we considered that we would do the performance in the Canterbury prison, nowadays an empty space.
After these decisions we were thinking about doing Postdramatic theatre, that no longer focuses on the dramatic text; […] it is not principally defined by character, as it is conventionally understood through psychological realism, and narrative in its conventional linear organization around conflict (Harvie and Lavender, 2010, p. 12).
After some days thinking of what could work better in a site-specific play, we realized that we could do Immersive theatre because site-specific brings meaning into the performance. Where site-specific work often creates work in response to the history or heritage of the site, site-sympathetic theatre, as Felix Barrett describes it, is ‘an impressionistic response; drawing on similar impulses but creating a dream world within the space rather than practical, literal retelling of the space’.(Duncan and Higgin, 2020)
First research about immersive theatre
'Immersive' its an adjective that the theater has taken to name a genre of theatre: There are several aspects to the word and its related forms: to ‘immerse’ is ‘to dip or submerge in a liquid’, whereas to ‘immerse oneself’ or ‘be immersed’, means to involve oneself deeply in a particular activity or interest. ‘Immersion’ thus defines the action of immersing or the state of being immersed; whereas ‘immersive’, developed from computing terminology, describes that which ‘provides information or stimulation for a number of senses, not only sight and sound’. (Machon, 2013, p. 21).
Josephine Machon helped me to understand what is immersive theater and what is not, because before this project I had never studied this genre: Equally, to work out the ways in which a performance piece might be inappropriately defining itself as ‘immersive’ simply because it happens to involve a sequence of audience participation at some point in its proceedings, or because the design begins outside of the stage space in the foyer, or because it is a site-specific, promenade piece. Although these can be important elements of an immersive experience, on their own or handled in an unskilled way, they are not intrinsically immersive. (Machon 2013, p. 57).
Personally I have been in a couple of escape rooms, and I knew that was an immersive experience, but I had never been in an immersive play. And we had to create a plot this way we would visualize the possibilities that we could do to interact and immerse the characters with the performance.
As part of our research, all the crowd went to watch ‘Immersive Great Gatsby’. Living this experience made me realize that every detail is important as Francesca Duncan said: Punchdrunk aims to heighten an individual’s senses and levels of perception in a space, all details; marks scuffed onto floors or etched into walls, tell a story. (Duncan and Higgin, 2020). From all this new information I got inspired, we could use some crowd members' voices to build an atmosphere and also smells.
The image on the right-hand side is from a 'Punchdrunk' performance Mask show’ is a shorthand for the large scale productions where the audience experience a world constructed within a vast building, through a looping narrative. As the name suggests each audience member wears a mask. This approach was first piloted in Felix Barrett’s original production of Woyzeck at Exeter in 2000. (Duncan and Higgin, 2020)
RESEARCH QUESTION
Finding research questions was challenging.
The group didn't agree on nearly anything.
During this process we explored several questions and we came up with some
FIRST PLOT IDEAS
How does performing a play in a prison can give the audience a new perspective about mental health issue?
To answer this question, we were thinking about turning the prison into a mental hospital, where each of the actors would represent a mental illness.
We spent a couple of weeks doing research on mental illnesses, mainly about mental illness and mental asylums. The first thing I did was start reading the 'An Angel At My Table: The Complete Autobiography' by Janet Frame, where she explains her life, going through mental asylums, treated with electroconvulsive therapy because she was falsely diagnosed with schizophrenia.
I also documented myself through films about mental illness and mental hospitals: 'The Rocky Horror Picture Show', 'Shutter Island', 'One Flew Over The Cuckoos Nest', 'Lunacy', 'Don Juan Demarco' and 'It’s Kind of a Funny Story'.
After 2 weeks of doing research about mental illness and immersive theater, the writers decided to start doing a plot, so we could start exploring how to use the tools that immersive theater gave us to portray to our future audience the importance of mental health.
We went to visit the prison because we needed to see the place before coming up with some ideas for the plot or for the interaction with the audience. Knowing the space made me see all the possibilities of that place. For instance, the audience couldn't go higher than the second floor. That authentic space really inspired us all so much.
Mental asylum, the first written idea
The writers at that moment, Luna, Oliver, Ivana, and I were looking for a plot that would let us interact with the audience.
This first idea has been really influenced by the Agatha Cristie murder mysteries books, 'The Rocky Horror Picture Show' with the resurrection scene, and with the ‘Shutter Island’ film. That inspired me so much, thinking about a mental asylum as "dark" and complicated, and the murder mystery with a plot change in the end.
During the creation of this idea, we were really trying to come up with something vibrating and that would make the audience and question themselves about their own mental health.
Punchdrunk experiences are designed to focus on the individual journey of an audience member which is not reliant on the presence of others (either performers or fellow audience members) as well as communal moments of sharing where everyone comes together in one space for the finale. Because audiences are given the autonomy to create their own journey no two audience members experiences will be alike. Some people may choose to follow a particular character, some decide to linger in a specific area, and even with an audience capacity of over 500 people there are some experiences that are designed for only one audience member at a time. (Duncan and Higgin, 2020).
After reading this we came up with this Murder mystery plot because everyone could be suspicious for the murder of one of the characters, and all the audience would feel obligated to defend themselves and they would all have their own experience. With this plot, we could make audience suspects, or/and eyewitnesses from the murder and we could confuse them with sounds, images and smells.
Another option:Feminity
The group decided that we had to explore other possibilities, to focus our research on other things. We talked about exploring the possibility of doing our research question about feminity and women's period.
Starting from the idea that women are trapped in their own bodies, we are slaves of our own bodies. Doing a performance about it in a former prison could show the entrapment women feel with their bodies for life, and that there is no one to blame.
Having the period is a bad experience, not a pleasant sensation, and if women do not have it means that they are pregnant, or that something is wrong, or illness, or that we are getting old.
I had this idea after hearing about the play '28 days'. I was thinking to be able to make the audience understand this natural injustice and to reach all the audience, male or female, by making them work in vain because in the end nothing changes, and everyone has to start working again.
This was just a first draft, that my coworkers thought wasn't a good option, and so I didn't develop it further, but I want to show that I considered many possibilities of immersive theater even though we did not use it for our final performance.
At that moment I did not know what to do. One part of the group never took into account the ideas of others and we weren't going anywhere. We were changing the subject over and over again and they were never satisfied.
In my opinion, the group had really great ideas but they were turned down quickly. Me and the other writers came up every day with new plot ideas about the topics that the group was asking for, but these ideas were turned down all over again. We needed to come with a decision about the theme of our performance as soon as possible so we could start doing proper research and go in the right direction, and start building something.
Helen Paris, a theatre practitioner, gave us the workshop where she showed us a Lois Weaver masterclass, on how to come up with a research question. It was very useful to us and thanks to it we quickly came up with the group research question and with an individual question:
How can we use immersive theatre to explore the theme of isolation?
How can I create immersive theatre performance through collaborative dramaturgy?
We realized that all the topics we did research about had a common element: isolation. So, it became our new theme.
And a workshop helped us!
Finding the way:
Prison as a vehicle for
the storytelling of isolation.
The title of the play
"Museum of a prison"
Now, that we had a research question, the dramaturgs and writers were focused on how to make the audience feel the isolation that the inmates felt.
When we were thinking about a museum of a prison I find out a news about Punchdrunk: The audience in a radical promenade production is arguably more like a character, sometimes playing a supporting role and sometimes the protagonists. Without the audience the story cannot be driven forward or completed. Although playing a role, audiences are not expected to learn lines or to come to rehearsals (Duncan and Higgin, 2020).
At that moment I remembered the performance that all the group went to see, "The great Gatsby", and I thought that we could treat the audience as a guest in a party, so this way they would be the characters of the story. The piece casts them as a version of themselves and the journey they go on often reveals they are heroes or have powers or skills that are vital in helping characters complete a mission or advance a key part of the narrative. (Duncan and Higgin, 2020) said Punchdrunk about 'Radical promenade'. Of course we were not going to make the audience have superpowers, but to be part of the problem and the solution of the plot.
One-on-One One-on-One or One-to-One experiences are performances that are designed for one audience member and explores the direct connection between performer, audience and space. (Duncan and Higgin, 2020). I added some mini-performances, when the characters are in the cells all alone.
COVID-19 Outbreack
COVID-19:
The challenge we faced
HOW WE OVERCAME IT
Due to the incapacity to do an immersive theater in real life, we had to change slightly our research question:
GROUP
Question
How can we explore isolation with ideas of immersive theatre in a digital setting?
Individual question
How can I create immersive theatre performance in a digital setting through collaborative dramaturgy?
Inspired by art in social media
Lots of artists use social media as a stage in order to express their art
Heartbreak by Emmet Kirwan is a very successful poetry film. Director Dave Tynan said :
"I’d worked with Emmet previously but was blown away by his writing and performance of 'Heartbreak' in the play 'RIOT' during the Fringe Festival. Everyone in that tent felt the power of it and it’s been a privilege to turn it into a film and bring it to a wider audience.”
(Mad Cow's Dave Tynan Captures 'Heartbreak' with Emmet Kirwan | LBBOnline, 2020)
The Other Solos is an anti-Brexit Shakespeare performance that used youtube as a stage.
Paula Rodriguez, director, and producer of this piece of art commented:
"We feel this is a change of gear that is speaking on another level and detached from branding. We would love to reach a wide and eclectic audience, with different views and realities, and not only in the UK but an international audience that might or might not have heard about Shakespeare. We would like to send these words into the internet void just with the hope of sharing and opening a possibility, a question, a need, we aim to open a crack so the light might breakthrough". (Brown, 2017)
Miley Cyrus, during the quarantine created a show in Instagram ‘Bright Minded’, using the Live video, where anyone could reach to her, ask her questions and she would answer. Another characteristic of these show is that Cyrus is not alone in this show, she has different guests that talk to her from their respective homes and following the quarantine, sharing the live video with her. That made me realize that Instagram is a good social media where we could do our performance.
Great inspirations:
1-Bright minded
2-Skam
Skam is a web-series originally form Norwegian
“Skam,” followed a fictional group of teens at school. Scenes from their lives, plus social media posts, were published in real-time throughout the week. (Southern, 2017). This inspired me to create my new idea, something slightly different, where the performance happens all on Instagram.
Now we knew it was possible, we could do it, We aimed to create connection through Instagram, between audience and performers in a live performance happening on our company page. The audience would be able to interact with the characters and be involved in our story, have a feeling of involvement.
Immersive theater, which trades the fourth wall, in the hope of giving audiences not a show but an ‘experience.’ (Schulman, 2016).
'What happens in quarantine stays in'
Idea and first script
The writers Luna, Ivana and I, developed this first idea
The dramaturgs decide to take the same plot structure, the relationship between the characters, and just change the way we share the story, changing the "channel".
As a dramaturg and one of the creators of the script, I had a clear idea about how I would like this performance to go.
We chose to do a simple plot, about friends that lie and keep secrets to each other, because we knew that the work of organizing the time tables, etc, would be a demanding task.
We gathered that it was better to focus on what happened every week and every day than to an overall plot since the beginning. Because we did not know how the audience would react to the story, and we wanted to give freedom to interact, like real life, where every action and every decision counts.
At this moment we decided 2 crucial things, that the performance would have an unusual length, thirteen days. Inspired by the durational artworks like the 6 hour or 24 hour version of Quizoola! (Forced Entertainment, 2020). This way the characters could really portray their isolated journey. And we would use dramatic irony -a literary device by which the audience’s or reader’s understanding of events or individuals in a work surpasses that of its characters (Dramatic Irony, 2020)- to challenge the audience and to give them reasons to engage with us.
Isolation research and exercise
In the document below there are some shreds of evidence about my isolation research. In the beginning, there is an exercise that Marissia Fragkou (Senior Lecturer in Performing Arts at Canterbury Christ Church University) suggested us, where my first thoughts about isolation are reflected.
Straightaway you will be able to see some article research that I did about isolation.
In the last section of this document, I have exposed one exercise I did. I decided to isolate my self for 2 days in an empty flat, because I wanted to know more about the isolation and I may had more ideas to do in our performance. And I did, I thought that a great way to transmit the isolation feeling would be to show the audience the characters being isolated. I wanted to do videos that really portrays the loneliness and the boredom. I thought that the audience should feel the boredom that I felt meanwhile I was isolated.
Background
As a dramaturg, I made make my actors create a background and connect with their characters.
The actors had a simple description of their characters, so they could get a taste of how they are, and they could create their own characters, without any restrictions. This way each actor had to do their own research and connect with their characters more deeply. All the dramaturgs agreed about making the actors creating Instagram posts and stories background. This way the actors will have to do research about the insight of their characters. And that will make the audience understand the character properly. 'Scenic truth’ involves that kind of moderation. In the process of embodying a role, you draw upon your OBSERVATION of the real world. Then you artistically and intuitively filter that factual information into a format you can use in performance. So, the ‘true’-sounding Glaswegian accent is filtered through your IMAGINATION to make it a credible impression of the required accent, while still remaining truthful to the writer’s intentions and understood by the audience; at the same time, your OBSERVATIONS and psychological assimilations of the real-life colonel filter out your ‘make-believe’ generalizations. (Merlin, 2007)
Mona Lisa, the masterpiece of Leonardo da Vinci is so valuable. One of the reasons for so is because of the technique called sfumato. In fine art, the term "sfumato" (derived from the Italian word fumo, meaning "smoke") refers to the technique of oil painting which colours or tones are blended in such a subtle manner that they melt into one another without perceptible transitions, lines or edges (Sfumato Oil Painting Technique, 2020).
The background he painted makes that the portrait looks so real as if we were seeing this image direct. If Da Vinci, decided to paint the 'Gioconda' without a background, it probably would never be his masterpiece, and wouldn't have its value. We can compare this situation with an actor working on its character. The characters without background and research are not as naturalistic as the ones that have it.
Guiding actors
As a dramaturg I had to guide the actors throw the script, explaining the situation and sometimes reasoning with the actors about the feelings and intentions that the character has.
I decided to come to a conclusion about the feelings of each character with the actor because I considered it very important. This way, the actor is much more linked to the situation of the character, as he is part of the reasoning that his character has done, so the actor can connect more with the character.
I could do this because I am a dramaturg and a writer guiding and even directing the actors because there was a lack of participation from the Director. I suppose this is a moment where we could use the saying:
Every cloud has a silver lining
Set designing
As a dramaturg I worked with the “set designer”. This way she could see what I had in mind and she could execute it.
At the beginning of the confinement -we were doing the first group's face calls- we talked about doing some kind of recorded performance.
The aesthetics of the images in films are so important and the shots are so studied. I knew that nobody in our group is trained to design nice shots and that, in quarantine, we would never reach high-quality images. So I started to think about what we could do to make it better, to achieve that our images could look nice and organized without a high level of complexity. If we used colors to differentiate the boxes of our characters we could reach this level of organization and harmony.
Characters and colors
When we started developing the final idea, Instagram as a stage, I knew we had to keep the idea of the colors. I found some pages of Instagram influencers that use a color or a pallet of colors to have their Instagrams more harmonic, as:
https://www.instagram.com/joja/.
https://www.instagram.com/gigi_vives/,
https://www.instagram.com/steffy/
https://www.instagram.com/xuzzi/
https://www.instagram.com/stellamariabaer/
I thought that trough the color we could transmit much better to the audience because the colors have meanings. As Eva Heller said:
People who work with colors (...) must know what effect colors have on others. Each of these professionals works individually with their colors, but their effect must be universal. (Duncan and Higgin, 2020).
I gave the other actors freedom to choose the color of their character, so this way they would shape it as they like and they would be more attached to their characters.
Interaction problem
At the beginning of our performance the audience did not engage as we expected
About Live video
Collaborative dramaturgy
The first project of Soleca Teatro Company has worked through Collaborative dramaturgy because 'What happens in quarantine stays in' is a performance considerably long, 13 days. That is the reason why it is been challenging, and also because the lines separating the work from each other are very diffuse, although finally, this has helped us to create a much more original text. At the same time, it has been very helpful not to be alone in this creative process because I know I couldn't have done all this work by myself. As Sara Sigal commented: This final model is designed to consider a way of working wherein a company has commissioned multiple writers to create a script for a production that will involve a significant amount of devising, workshopping and discussion, in addition to the writing itself. (Sigal, n.d., Pg. 153).
The relationship and the working environment between the dramaturgs were really good. Normally we would understand each other easily. The most challenging moments were when Luna, Ivana, and I had different visions about how the performance should continue. Coming into an agreement is crucial if we want to proceed and achieve our outcome. But these are the moments where we created the better parts of the script. And it’s our favorite part, really. It’s the thing we tussle over the rights for (...) we cross over into each other’s territory constantly. And the argument that ensues when one of us enters the other’s area of expertise —as we debate what we’re trying to mean, what the rules are, what we want the audience to come away with, where we want clarity and where ambiguity, what the rhythm is— this is where the process really gets good. (Lynn & Sides, 2003).
Improvisation
WE USED IMPROVISATION AS A TOOL TO GET A MORE BELIEVABLE EFFECT
In a Punchdrunk show the text or source will not be performed word for word, indeed in a large scale mask show text is rarely spoken, but rationalised through movement, design and soundscape preventing it from becoming predictable and anticipated by the audience. (Duncan and Higgin, 2020).
We decide to do something similar, some of the conversations that our characters had were not scripted, we gave instructions of what we wanted to happen, but we gave freedom to the actors to explore and connect deeply with the character. Improvisation worked because the actors could show organic reactions to the things that happened in the scenes.
Final script
HAVING IN MIND ALL THE THINGS THAT I COMMENTED WE END UP WITH THIS SCRIPT
Below you can see the final script, where you can observe how did we work and even the improvements that we had between the beginning and the end.
We didn't do all the script at once, we were doing the script bit by bit, and so this way we would let the audience change the story with their interactions.
Role
ACTRESS
Character choices
Olina
DESCRIPTION OF CAROLINA, MY CHARACTER
Carolina is a girl that in the outside is playing a secure person that loves her and loves partying and take illegal substances.
But really she is opposite of all of that, she is following the saying:
FAKE IT UNTIL YOU MAKE IT
She tries to show everyone how nice is her life, how good and fun is her life. But the reality is that the only way she can have fun is taking drugs and drinking alcohol. She is not a happy person, she thinks that she would be happier if people envy her life, lifestyle, and her body. Carolina wants to stand out, that is why her nickname is Olina, not Carol, as a lot of people would normally call people called Carolina. She has an inferiority complex and wants to show the world how great she is. She is also a narcissist that thinks that her problems are more important than the problems of other people.
Olina is in love with her best friend's girlfriend, and she knows she will never be with her. Nobody knows this because she is afraid of what other people would think of her.
She sleeps with a lot of people because she tries to find as much love as possible even if it is from a random boy that is just using her. She doesn't like to show her pain. She likes to be with people all the time because when she is alone she starts thinking about how miserable is her life and she cant handle it.
I got inspired by Maddy Perez, character form Euphoria TV series, a girl that acts like a diva all the time but she is not really happy. Even though she is a simple girl, is a complicated character with a lot of problems.
Color blue meaning
Carolina's color is blue, for the following reasons:
I choose to color Blue for my character @Olina_97, because a lot of reasons, but the reason that came to my mind was because of the blue light is normally in night clubs, and one of the characteristics form Carolina is that she loves to go to a party. But the blue has a lot of meanings as well, Blue is the most named color in relation to sympathy (Heller and Chamorro Mielke, 2017)
I also wanted to portray coldness because is a person that just thinks about herself and do things that hurt a lot of people, and she does it without thinking about anyone. She does it with a cold heart, she is a frivolous gilr. Blue is the coldest color. The origin of the fact that blue is considered a cold color lies in the experience: our skin turns blue with the cold, even our lips turn blue, and ice and snow show bluish tones. Blue is colder than white, as white means light, and the shadow side is always bluish (Heller and Chamorro Mielke, 2017).
The blue represents divinity: The gods live in heaven. Blue is the color that surrounds them (Heller and Chamorro Mielke, 2017). I wanted to portray her behavior, that she acts like she is divine, perfect and she does not do mistakes. She follows the saying: fake it until you make it.
Acting choises
Improvisation and interaction with the audience
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Welcome to
EXTRA WORK
Poster
When we had decided that our performance was going to be on Instagram and the script was in the process of creation, I started thinking about a way to seel our production. First of all, we needed a name, a title so the people could ubicate us. After brainstorming the title with all the adjectives related to the story, I came up with different options;
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'What happens in quarantine stays in Quarantine',
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'What happens in quarantine stays In'
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'What happens in quarantine stays in quarantine... or not?'
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'secrets isolate us'
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'secrets in a time of quarantine'
-
Friends, secrets and quarantine'
-
Lie, Isolate love'
After that, I tried to come up with versions of famous titles to show a mundane situation adapted to our COVID-19 crisis.
I presented the best options to the group and we chose: 'What happens in quarantine stays In'.
When I created the poster, my intention was to portray a Skype call, with all the characters represented with their respective colors, to make obvious once more the separation of the characters and their personalities. In each box, we can see the name of the character and the sentence 'is connecting...', as it was a real video call. I was trying to portray that the characters were seeking to reach each other, but they couldn't connect yet. If the audience does a second and profound look at the poster, I would like that they ask themselves: why are they not connected, maybe they can't? Also, I did this poster in order to simulate that the lies that they are telling, and the secrets keeping to one another, are making them not able to connect, not able to reach with the other, they are isolated in spirit apart from in the body.
Reflection
It has been an interesting project, which has been like a roller coaster, with emotion and deceit, with moments of despair and moments of peace ...
The gathering of information made me realize that we have had many challenges, but we have overcome them all. One by one. We have been able to think, write, and create an immersive piece while isolated. The whole world was deprived of doing their job normally and free, deprived of doing what he needs. Many artists have lost their works due to the world situation, which seems to go against us, but even so, we have been able to create this performance without having to change the subject and the theatre genre.
It seems to be the most difficult genre to create in these days of uncertainty, lack of freedom and the impossibility to stay physically together.
As a dramaturg and writer, I would have liked much more support from some the subjects in the group, so the work would have been even better because the dramaturgs, Ivana Shopova, Luna Delgado and I, have never been as overwhelmed as we have been creating this project, trying to make our work and the work of the people who did not do it. If the six people in the group would have worked instead of 4, I know that the final result would have been even better. We would have had more time to improve and we could have focused on the details.
Regardless, I am immensely proud that we have managed to do this job.
BIBLIOGRAPHY
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