As mentioned in a previous blog, the idea of the Grotesque character became a fundamental part of our adaptation, and therefore I was adamant that, in pursuing this, the characters speaking directly to K should maintain this to the fullest extent.

As Orti mentions;

“The physical theatre performer uses his body as his tool to create Character[…]What’s important is how they move: how they walk, how they look, how they scratch their nose. All this allows for instant communication with the audience about the character’s state of mind. There is no need therefore to find your character’s “motivation” as long as you know its “movilization”. (2011)

Therefore, when focussing on these separate characters, these specifics became an essential  part of each characters. To find out more information on this, each actor has written a blog about their particular movement and vocal expression within their character/s.

Here is a shoert video of when I got the cast to do an excercise where they walk around the corner in character. Here I wanted to see a clear distinction in their walk and faces.

Word count:145

Works cited

Orti, P. (2011) So You Want to be a Physical Theatre Performer? Smashwords