Browsing by Author "Hofmeyr, Zoettje"
Now showing 1 - 1 of 1
Results Per Page
Sort Options
- ItemExploring some of Cicely Berry’s voice and language exercises for a directing concept of Athol Fugard’s Sorrows and Rejoicings(Stellenbosch : Stellenbosch University, 2016-12) Hofmeyr, Zoettje; Kruger, Marie; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.ENGLISH ABSTRACT: The aim of this study is to explore how using voice practitioner and writer, Cicely Berry’s, exercises and language strategies on sound and text, could lead to finding a directing concept for the play Sorrows and Rejoicings by Athol Fugard. The expectation was to discover a layered and interesting interpretation of the text by using a more sound-based approach which relied less on visual aspects such as décor, scenery and lighting effects. The research consisted of both a production of the play with a student cast and this thesis, which articulates the full rehearsal process of working on the play with Cicely Berry’s ideas as a clear framework. A qualitative approach was used for the first part of the thesis which involves an overview and discussion of Berry’s career and work. Her various books on voice training and working with actors and directors are also referred to. Then a full Practice as Research approach was followed to find a coherent structure and concept for the production process and performance. Cicely Berry’s exercises were selected and adapted throughout the process by myself as director to explore this South African text and to encourage the actors to bring to the life the personal sound of the characters, as well as create their physical environment through using sound imaginatively. The production revealed that Berry’s many exercises and strategies allow a more open approach to the text and that, within the realism of the language, a poetic and heightened quality was found that led to exploring the characters and their emotional and physical landscapes in a deeper way. Improvisation on these exercises led to concrete ideas for stronger characterisation, active and imaginative use of voice, song, and chant to enhance the themes and atmosphere, a more open and fluid use of space and the essential aural and visual concept that worked well for the production. The centrality of Berry’s approach puts the text first and as a director one then also has the freedom to explore and improvise on the exercises as they are needed. It was found that one needs to use many of the exercises and to repeat some of them at different stages of rehearsals, in different ways, to fully benefit from them. As they are open-ended and not prescriptive in their potential outcomes these strategies are very useful for a director and actors in exploring a text, in order to find a creative interpretation that is stimulated by the words and images. In this way an awareness of the sound potential in language becomes more important than relying largely on visual aspects.