duration versus time


Our 4th exploratory session on the Betrayal Replayed project we were missing Simon to let us into our rehearsal space so lost some time there and were missing Aggi to keep track of what we were doing so probably had many more brilliant ideas than are here recorded.

We did have John S though, who brought a couple of songs to check out the feel and some ambients to try with scenes and transitions between scenes. We did this with Scene 5 (venice) and scene 6 (flat) the latter scene worked by Simon and Jo last week. As we had two Emmas this week, we tried leaving one in Venice at the end of scene 5 when we started the next scene, as an emotional reference point. The interchange between the two versions of Emma across the  scene boundary and relatively short time was interesting and quite shocking to John A playing Jerry in the latter scene.

We discussed the period setting at some length and the challenges the audience faces approaching the play for the first time, given the unconventional reverse chronology of some of the scenes. We decided that the exact dates were unimportant to present, we wanted to set our performance in ‘the past’ in which technology and expectations were different from now but did not need the audience to locate scence one specifically in 1977 for example. However, the nine-year duration of the scenes we do want to get across, and we had a number of ideas from projection to audio to communicate which scenes are before and which follow in time. There was also an idea about shedding items of costume as we move backwards in time.

There was also some talk of ‘generic’ costuming inspired by company members seeing Occam’s Razor last week.

John S’s sounds inspired charcter thoughts that Jerry does jazz, Robert might be into something obscure classical/baroque, that Emma and Robert have a piano in the house, and Emma prefers female popular singers.

Kate’s reflections on the process were that she was feeling more able to offer ideas this time around compared with the original production and may it was not all going to be about controlled panic.

Jo reflected on the work last week that reducing the physical dimensions of the flat during the rehearsal was like a dollshouse, and connected with the sense of ‘playing at’ relationships through the affair


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