Scene one Our intention for scene one was to portray Morley’s life and his decent into madness. We were influenced by the choreographer Lea Anderson and created some initial movements that represented religion. Palms together represented praying, arms crossed represented a cross, eyes up represented God, arms bent over head represented an arch and arms curved up represented enlightenment. The features we used included two-dimensional contact work and religious gestures. All this work put together developed into a succession of physical images portraying religious imagery.
We used elements of epic theatre incorporating the verfremdumeffekt, minimalism and direct address. From this Bishop Morley’s actor stepped out of scene and approached the audience. We wanted the opening of this scene to be strong and create an eerie and religious atmosphere. This was created by a chant lead by the character of Bishop Morley. It was impossible as a group not to create a rhythm however through lots of practice we developed a final sound that created the effect we wanted.
To finalise this scene we created a monologue for Bishop Morley, which was surrounded by key words being uttered. We improvised key positions and various tableaux around him as the monologue is performed. This scene was overall created by our improvisation tasks, which we had practiced on our first visit to the keep. Scene two For this scene we had planned to educate the audience on Henry the VIII’s character and his relationships he had with his six wives, Also we wanted the audience to know how his marriages had ended either divorced, beheaded, died or survived.
We used Brechtian techniques to communicate this to the audience such as frozen tableaux, song, placards, and direct address. We also created a short monologue for the actor playing Henry the VIII coming out of character and addressing the audience instructing them to ‘Bow down before the King’ this was manipulation of the audience which is a technique of theatre of cruelty. We decided that after the Morley scene we wanted to allow light relief, so the commercial aspects of this scene worked well with the song theme.
We chose the song ‘Senorita’ by Justin Timberlake and replaced the lyrics with some comical lyrics of our own which related to the relationship that Henry the VIII had with his wives. Throughout the song we used movements that had been inspired to us by Lea Anderson in her work ‘Flesh and Blood’, in particular we used two-dimensional contact work in profile facing the audience. We also used the Brechtian technique of using placards that the six wives had attached around their necks to show their name on one side and the way in which their marriage ended on the other.
Scene three Our intention for scene three was to portray an entertaining and fun insight into Mary Tudor’s wedding night allowing our audience to understand her fears and worries about marrying Prince Phillip of Spain. This scene required a lot of research so that we could find out what Mary was like and show them emotions enabling our audience to be educated. We improvised various rhythmic sections of verse to form the narrative. We used two devices from epic theatre. One was song the other gestus.
To conclude this scene we started and ended the scene using another epic form. This was frozen tableaux. In this case the frozen tableaux were of the two maids grooming Mary. Although this scene was improvised rehearsal was critical because throughout the scene the three actors talked in verse. Therefore timing was an issue and required extra care. Scene four In this scene we wanted to express the emotions of the plague victims to the audience. We used various forms and devices from different practitioners these were: Lea Anderson, Christopher Bruce and Brecht.