Module Aims and Summary
You will undertake a comprehensive exploration of a chosen play (or plays) through practical work, design and relevant research. You will relate performance practice to its global, historical and cultural context and place their practical work on the production of the text in a broad perspective.
You will use rehearsal exercises to identify relevant performance techniques for the effective realization of the text, in a style appropriate to the demands of the text and to the cultural context they determine. You will experience the nature of the ‘professionalism’ referred to in the title of the degree, as the production will be conducted upon strictly professional lines.
You will work as a company and be challenged to explore and resolve the organizational and interpersonal challenges encountered. You will take on a variety of tasks, which will be allotted by the tutor/director. You will receive additional guidance in marketing and administration, design and technical work. A number of public performances will be given towards the end of the module, which will be key to the assessment process. You will then reflect on the process and your contribution to the production(s) in a detailed reflective journal.
Intended Module Learning Outcomes:
The intended learning outcomes are that on completion of this module you should be able to:
LO1 Research and evaluate a text, its cultural context and relevant historical theatre practices and to articulate findings.
LO2 Demonstrate a practical and theoretical appreciation of the nature of performance, space, style and context;
LO3 Identify and utilise practical skills appropriate to assigned responsibilities and the aims of the production;
LO4 Through allocated roles and production tasks, participate cooperatively, creatively and effectively in the preparation of a performance.
LO5 Communicate effectively in writing by using an appropriate academic style
LO6 Show an ability to reflect on their own practice in relation to the requirements of the students Professional Development Portfolio
Reflection on the term:
This term we undertook a comprehensive exploration of a chosen play ( Doctor Faustus) through analysis, research , design, and practical work. We explored its global, historical and culture context in relation to performance practice. During the process we engaged in rehearsal exercises to indentify relevant performances techniques in which we used for team work, concentration and focus. We used techniques for effective realization of the text in a style appropriate to demands of the text and cultural context. In experiencing this module we got to first hand experience the nature of professionalism in relation to the arts industry. This term were conducted upon strict professional lines. We had rehearsal schedules in which we participated in, time slots, production meetings and directed rehearsals. This was for us to experience the real working industry and the strict line your have abide by.
Throughout the module we were aiming to be demonstrating a practical appreciation for the nature of the performance space, style and context. Therefore, we researched in the history of the Globe theatre, watched theatrical productions that have been performed at the globe and develop our skills through rehearsal and final performing on our version on the globe. In our company we had a production team in which we allocated ourselves roles and responsibilities through the production in costumes and design departments and props, building and technical aspects. I really enjoyed this aspect because the style of our performance was creating the illusion of an ‘old world’ so it was great experimenting with costume ideas for instance the seven deadly sins we created the concept travelling freak show’. Therefore, it was great to be able to design and create costumes and research costumes ideas.
The initial process started from an audition in which we had to perform two extracts one from ‘A midnight summers dream’ and the other ‘Doctor Faustus’. From there we were cast into two companies in which then engaged and started rehearsal’s for the production. I feel this was great way to start the process because if you want to star in productions whether it’s TV or film auditions are always required. Admittedly I was nervous because it was classical texts we were performing and I do struggle with the context of the language however it challenged me more to practice and become as familiar as I could with the text.
The rehearsal process started during the first few sessions we played a Varity of games in which we did team building exercises and games this was to get us to work as a company and gel together because we were going to be working together from the beginning of the process up until the end of the production. We played exercises based on focus and concentration so our mind is fully committed and engaged with rehearsals. We spent the first few rehearsals doing continual runs through of the text to get familalir with the language and tone. We were given tasks regularly to complete to help us as actors understand the play, style and context. The one task for me which was the most beneficial and helped me the most to understand the play but also my character was when we had to write out the translations of our lines. This was really useful because you had to spend your time looking at the lines and analyzing so we understood what we were saying but also the context of the scenes. The following session we then spent as a cast reading the play again but reading our translations.
We spend time doing blocking rehearsals in which we mapped the stage out in the rehearsal space using doors chairs to create door entrances and exits. This was actually really useful because when we would block the scene we got the directions from the director in which doors we used be using for entrances and exits therefore once we did it we could write exits in and entrances in our script so when coming back to the play the notes were already there. During the blocking stages we got direction of the director so we knew roughly where to play the scene.
Developing the rehearsals we collectively worked closely with our director and assist director we had allocated time slots with them to work on certain scenes and really develop the characters through intentions and aims. In which we would then meet up as a company in the afternoon and showcase to each other the scenes we had been working on.
Once the blocking was complete we spent time times where we would start from the beginning of the script and just walk through all of our entrances and exits from scene 1 until we got to the end of play. Following this we would do line rehearsals. We then focused on run throughs in which we always got feedback and advice for improvements and praised on moments that really captured the moment. Production week we spotted the lights and done all the technical aspects that were required in the performance as we had a lot of visuals such as projections, sounds, animation and smoke and finally dress rehearsals and show week.
I feel this module has learnt be a lot for how the industry works. I had the best time. I loved how as a company we all knew what we were doing and what we were aiming to achieve through rehearsals. I loved how it was directed because we all worked with Goff on his vision for ‘Faustus’ for the style and desire of the piece. We always had support and guidance so if we were struggling with text or language we didn’t struggle alone because we were offered advice and strategies to help us.
LO5 Communicate effectively in writing by using an appropriate academic style
“Shakespeare and his contemporaries need reinventing in order to be relevant for a modern audience.” With reference to two or more productions of the play that you are studying, discuss the above statement.”
Classical literature is still studied in present day within the Educational sector. It is also incorporated into performance for entertainment and cultural purposes. It could be argued that particular playwrights of the Elizabethan age have been brought into a modern light through contemporary performance. With reference to playwrights who have been recognised for their contribution to English Literature; William Shakespeare has been regarded as one of the most recognisable icons in English history. Similarly Christopher Marlowe was a rising playwright who wrote some of the most controversial tragedy plays. In the Elizabethan age (1558-1603) productions were performed in traditional theatres such as the renowned ” Globe Theatre” where directors now have adapted and modernised some of the greatest plays every wrote. Marlowe’s most distinguishing and tendentious work has been recognised as Doctor Faustus which was published in 1804. (O’Connor:2003) With reference to Dr Faustus; this essay will discuss reasons for whether his contemporaries need modernising for a contemporary audience.
Classical texts of the Elizabethan age have inspired new interpretations in a range of genres and forms including; contemporary performance and modern literature. Through the re-invention of Renaissance plays contemporary adaptations have addressed a range of modern day issues including current concerns and affairs. This enables new perspectives to be drawn upon, not only the Renaissance play but also the creative industry for modern day writers, directors, contemporary practitioners and critics. (Brown ,2014) For instance Marlowe’s Doctor Faustus a play of the 16th has have been adapted through different media forms, performed originally on stage in a conventional theatre environment, modified for television, silent film versions, and most recently transformed into a musical adaption on the contemporary stage. Therefore this highlights the significance of classical plays still being evident in present day society as practitioners are still staging the “classics” and making them relevant through different media forms.
The discussion therefore stems from establishing the reinvention of classical texts and whether the new adaptations provide the audience with a clearer indication to the context of the play. In terms of understanding the classical plays – modern day individuals would struggle to comprehend the narrative of the story based upon the plays been originally written in relevance to the era to which the writers were living in. An example of this would be Marlowe’s story of Doctor Faustus which depicts the aftermath of a German Scholar ‘Faustus’ who’s power hunger leads him to sell his soul to the devils Subordinate in exchange for unlimited knowledge and endless power. (Whitbourn,2011) The morality of the play therefore focuses upon Sin and repentance which concludes to Faustus being perpetuity dammed in hell. The storyline would be interpreted differently based upon the two very diverse eras of Elizabethan age and today’s society. To an Elizabethan audience they would have found the specific moral of the story fear-provoking as the society of this time were preoccupied with religion and the idea of an afterlife. These religious views were extremely important at this particular time therefore it would of been seen as committing a sin which was objecting against God. In contrast to a modern audience in today’s society we would have acknowledged what has happened to ‘Faustus’ but would not have been deeply affected by the storyline as present culture is not as heavily influenced by religion or religious views and assumptions as today we live in a multicultural society and we accept and acknowledge that.
In the re-invention of classic texts directors approach superior understanding of the play through technical and design aspects so the spectators can visually understand because the language used in the Elizabethan age differs from how the society formally speak today. For instance, in Doctor Faustus there is lots of emphasis on Latin. For example “Solamen miseris socios habuisse doloris.” (Act 2 scene 1:35) which was the language of the Catholic Church during the era of this time. In today’s society nobody would understand the Latin because it’s an unspoken language.
Classical plays have been brought into a contemporary context by visual design without jeopardising the original source or originality. This ensures that the play is still performed with the original language and storyline intact yet it is adapted for the technological age of present day. Directors of the 21st century such as Elizabeth Freestone have chosen to adapt the work of Doctor Faustus focusing specifically on the A-text version of the text which was performed at the ‘Greenwich Theatre’ (London, 2009). ) In order to artistically and technically modernise the play through the visionary of the stage Freestone (2009) chose to add specific technical aspects and alter the design elements of the conventional theatre. From the recording of the play (Video:2009) it is clear that Freestone approached the contemporary vision of the classic play by using special effects to demonise the depiction of hell. Freestone uses physical theatre to portray the illusion of an underworld through movement and characterisation. Freestones choreographic intention of using physical theatre has modernised the performance by making reference to contemporary performance practice that is purely based upon physical representations of movements in a narrative. Physical theatre is a popular form of contemporary practice and is often seen in present professional touring companies such as DV8 (2014) Company Chameleon (2014) and Frantic Assembly (2014) in which modern day audiences are familiar with. As a contemporary audience the spectators would recognise the style of the adapted version through its performance quality and choreographic intention. Whereas Physical theatre as a performance technique was yet to be invented in Elizabethan time. Another intention of Freestone (2009) was to alter the style and period of the play in which it is set in order for it to be relevant to a modern audience – intentionally modernising her interpretation of Marlowe’s text by changing the period of the play from the Elizabethan era to the Victorian era through the use of costume. Video evidence (2009) portrays the visual aspects as Freestone incorporates flashes of thunder and lightning which complements the underscores of sinister music. As a result of these adaptations the music sets an atmosphere to the play amid the constant flickers of lighting which also portrays the physical theatre element at different stages of the play in order to show glimpses of hell.
On the contrary, it could also be argued that the classical play’s do not need to be reinvented and therefore formed into something new as they do in fact make sense in their original format and adapting them would consequently mean destroying a form of originality. However, it is down to personal preference because many individuals still take pleasure in classical performances and visit the Globe Theatre to enjoy traditional performances. In contrast to Freestone’s (2009) adaptation of Doctor Faustus, Matthew Dunster (2011) staged the first production in History of Doctor Faustus at the Globe Theatre in 2011 which the’ Globe’ is notorious for performing classical texts in traditional concept. Dunster artistically added particular performance aspects that enhanced the staging of the classic adaption as it followed the traditionally concept of Elizabethan theatre as the production was performed in the traditional environment of the theatres in the Elizabethan period. Dunster (2011) used similarities to the original Elizabethan costumes which complemented the period in which the play was written which is known to be dated around the time of 1580s according to sources. (O’Conner:2003:121). In order to keep originality to Marlowe’s original script Dunster (2011) did not reinvent the play so to speak – he intentionally chose to follow the codes and conventions of the traditional theatre keeping the scenery and props ‘simplistic’ with no special lighting effects to enhance the performance. Therefore, the spectator would fully experience the play within the Elizabethan time band. However to certain extent Dunster (2011) added a degree of modern elements to update the performance aspect by including puppetry and majestic elements of dragons to add to the experience. With Critics claiming that Dunster’s production resembled the production of The Lion King because of the similarities in both productions. (Spencer:2011). Dunster’s adaption particularly focused on the comedy aspect of the production by using the technique of ‘clowning’ to heighten specific comedy moments. An example of this being when Faustus asks Mephistopheles for a ‘bride’ who then returns with a ‘A devil dressed like a woman with fireworks’ (Act 2 scene 1). He used this moment to create a comic moment by making a mockery of what Faustus was requesting. As a modern audience we would find the humour in this scene for entertainment values. Whereas, Freestone (2009) interpreted her version of the scene differently as Mephistopheles conjured a ‘bride’ wearing a wedding dress and a disfigured face. (Act 2, scene 1 : 43) The function of this was because Freestone’s version of Doctor Faustus was indulged in showing a representation of hell through her performance as she purely focusing the concept of tragedy and morality.
After addressing Freestone’s (2009) and Dunster’s (2011) adaptations of Marlowe’s classic play it is clear that there are several similarities and differences between the two. Freestone’s (2009) version of Doctor Faustus challenged the codes and conventions of traditional theatre through completely modernising her interpretation through the visionary and special effects. While Dunster (2011) intentionally chose to portray a traditional theatre environment to ensure all audience members were giving the full Elizabethan era experience. In terms of choreographic intentions Freestone (2009) chose to include Physical Theatre as a contemporary performance practice. This enabled her to explore the narrative through movement . Whereas Dunster (2011) included puppetry to portray his vision. In terms of interpreting the period of the classic play – Freestone (2009) chose to modernise her interpretation by changing the period of the play from the Elizabethan era to the Victorian era. Where Dunster (2011) deliberately chose to show originality to Marlowe’s text in keeping it simple and text book based.
In relevance to Shakespeare and Marlowe, Gill Stoker’s article comments on the classical texts in relevance to our contemporary world categorising situations that are still significant and relevant in all day and ages despite the differences in knowledge, culture and emphasis. (Stoker:2005) As they focus on all aspects of human emotions a primary example being ‘Temptation’ the core theme in Doctor Faustus. Therefore contemporary directors address the current themes and use them in relevance to what’s happening in the world for a political emphasise. However, Doctor Faustus has different significance between the two contrasting eras of society as it was written in the centre of religious influence, and scientific knowledge with Marlowe’s work referencing to the ‘Ptolemaic system of the cosmos’ in which the planets orbit the universe this would have a deeper meaning to the Elizabethans because it what they firmly believe in. Whereas today this would have no significance to us.
It is important to remember drama has always been a accumulator of storytelling forms in the sense that no work is original David lane states “Drama has always been a magpie of storytelling forms, stealing and borrowing from existing narrative sources to create new ones.” (2010:157)For example Christopher Marlowe used the substance from ‘The Faustbuch’ (1587) which provided Marlowe with key material for major scenes in Doctor Faustus. (O’Connor, 2003) This demonstrates that plays are always adapted to keep work relevant. John O’Connor (2003) states; “There are two versions of Doctor Faustus, neither of which was published in Marlowe’s lifetime” (2003:121). The first version named the A- text was published in 1604, and the second version which is significantly longer than the A text was published in 1616 (O’Connor:2003)
To summarise David Lane informs us that adaptations encourage a ‘double-reading’ for an audience “as we interpret the new, adaptive text in its own right and its relationship to the source text as well.”(2010:183) Director’s use the substance as a guide to their own interpretation. For example John Barton’s production of Doctor Faustus signified ‘Faustus’ as a man in ‘mental torment’ and used puppetry for the portrayal of the good and evil angel to underline that hell is a state of mind.(2003:32) Opposed to the 1916 film version, the voice of the good angel appears from a religious statue, where the evil angels voice is spoken through a skull on Faustus desk. (2003:32) The supernatural was more looked upon in the Elizabethan ages because of the concepts of heaven and hell therefore they would expect more.
To Conclude there is an acceptance on both sides to the given statement of reinventing classical texts and plays in order to be relevant for a modern audience. In some respects these classical plays do need to be accessible in the modern world for the younger generation to understand language terminology and general narrative however theatre is in cultural context therefore it is up to individuals choice which brings the discussion down to personal choice.
Bibliography
Articles
(Brown, Peter, 23rd June 2011, Doctor Faustus, London review) http://www.londontheatrearchive.co.uk/archive/secure/archivereviews/doctorfaustus2011.htm
( Charles Spencer, 24th of June 2011, the telegraph, the globe, theatre review.)
http://www.londontheatrearchive.co.uk/archive/secure/archivereviews/doctorfaustus2011.htm
http://www.digitaltheatre.com/production/details/doctor-faustus-shakespeares-globe
http://www.telegraph.co.uk/culture/theatre/theatre-reviews/8597343/Doctor-Faustus-Shakespeares-Globe-review.html
Books
O’Connor. John (2003) Doctor Faustus The A Text – Christopher Marlowe. Pearson Education Limited.
Lane, David (2010) Contemporary British Drama. Edinburgh University press Ltd.
Video
Matthew Dunster’s version of Doctor Faustus at the’ Globe Theatre’ (London:2009) [Video Reference]
Elizabeth Freestone’s version of Doctor Faustus at ‘Greenwich Theatre’ (London:2009). [Video Reference]
James Whitbourn (2011) DVD Accessed on;
http://www.shakespearesglobe.com/shop/product/2011-season-shakespeares-globe-doctor-faustus-dvd/1110?session_id=14161401536bce3d3a920f4456c4a62dce1b153cbc
Websites
(2014) Company Chameleon (2014) Accessed on (15th November) and available on; http://www.companychameleon.com/
(2014) DV8 (2014) Accessed on (15th November )and available on; http://dv8.co.uk/
(2014) Frantic Assembly (2014) Accessed on (15th November ) and available on; http://www.franticassembly.co.uk/
Sarah Annes Brown (2014) Reinventing the Renaissance: Shakespeare and His Contemporaries in adaptation and performance. Palgrave School, Print UK http://www.amazon.co.uk/Reinventing-Renaissance-Shakespeare-Contemporaries-Performance/dp/023031385X
Published (6th October 2005 ) updated ( 27th October 2005 ) http://www.open.edu/openlearn/history-the-arts/culture/literature-and-creative-writing/literature/shakespeare-our-contemporary
Doctor Faustus ( Text Summary ) Research sourced by http://www.sparknotes.com/lit/doctorfaustus/summary.html
A talented German Scholar from Wittenberg John Faustus grows dissatisfied with limits of traditional forms of knowledge in medicine, law, logic, religion, and theology and therefore decides to turn to the dangerous art of necromancy ( black magic) Throughout Faustus thoughts of necromancy appears a good angel and evil angel reinforcing repecautions of his choices the good angel enforcing Christian conscience while the evil angel provokes power and a path that will lead to damnation. Faustus desires to pursue magic leads him to call on two German scholars who are experts in black magic Valdes and Cornelius. They Instruct Faustus in the fundamentals of black arts. While Faustus is alone in his study he starts experimenting with incantations and summons Mephistopheles a devil from hell who warns Faustus of the horrors of hell. Faustus decides to sell his soul to Lucifer if he will be granted twenty- four years of absolute power. Mephistopheles goes back to hell with the barginship of Faustus soul in which Lucifer agrees.
As Faustus is having second thoughts and thinking of repentance in selling his soul both of the angels reappear the good angel giving Faustus advice telling him to save his soul while the evil angel is provoking Faustus to think of power, wealth, and pride.
Mephistopheles returns with the contract acting on behalf of Lucifer in which Faustus then signs with his blood and sells away his soul to Lucifer in exchange for his twenty-four years of power with Mephistopheles acting as his servant. Once Faustus signs the contract “Homo fuge,” appears branded on Faustus arm. Where he then begins to have second thoughts.
Act 2 Scene 1 PG 39 ( Faustus demands in the contract )
Faustus: “On these conditions following;
First, that Faustus may be a spirit in form or and substance.
secondly, that Mephistopheles shall be his servant, and at his command.
Thirdly, that Mephistopheles shall do for him and bring him whatsoever.
Fourthly, that he shall be in his chamber or house invisible.
Lastly, that he shall appear to the said John Faustus at all times in what form or
shape soever he please.
I, John Faustus of Wittenberg, Doctor, by these presents, do give both body and
soul to Lucifer, prince of the East, and his minister Mephistopheles;
and furthermore grant unto them that four- and-
twenty years being expired, the articles above
written inviolate, full power to fetch or carry the said John Faustus, body and soul,
flesh, blood, or goods, into their habitation wheresoever.
By me, John Faustus.”
Mephistopheles gives Faustus a book of knowledge to learn. Faustus begins asking questions about the nature of the world, and asking who made the universe in which Mephistopheles refuses to answer. Faustus begins self doubting therefore to distract Faustus, Mephistopheles and Lucifer both appear and parade the deadly sins (Pride, Covetousness, Wrath, Envy, Gluttony, Sloth, and Lechery ) before Faustus.
Faustus then goes on his travels with Mephistopheles where they are awaiting the feast honouring St.Peter while they both await the pope who is decidedly an unholy man they decide to play tricks on him using magic to make them both invisible.
Following this, Faustus and Mephistopheles travelled to Germany emperor’s court. Where Faustus makes two devil horns appear on one of the knights head who is reluctant to Faustus powers.
Full Title: ‘The Tragically History of D. Faustus’, later reinterpreted to ‘The Tragicall History of the Life and Death of Doctor Faustus’.
Author: Christopher Marlowe
Type of Litritature: Play
Genre: Tragedy
Language: English
Time and place written: England, Early 1590s.
Date of first publication: The A text was first published in 1604, the B text in 1616.
Narrator: The chorus (Appear in scenes and provide the story with background information andcomments on the action.)
Tone: Grandiose and tragic, with occasional moments of low comedy.
Tense: The Chorus, who provides the only narration, alternates between the present and past tenses.
Period: 1580s
Location/setting: Europe (specifically Germany and Italy)
Protagonist : Doctor Faustus
Major conflict: Faustus sells his soul to Lucifer in exchange for twenty-four years of immense power, but the desire to repent begins to plague him as the fear of hell grows in him.
Rising action:Faustus’s study of dark magic and his initial conversations with Mephastophilis.
Climax: Faustus’s sealing of the pact that promises his soul to Lucifer.
Falling action: Faustus’s traveling of the world and performing of magic for various rulers.
Themes: Sin, redemption, and damnation; the conflict between medieval and Renaissance values; absolute power and
Motifs: Magic and the supernatural; practical jokes
Symbols: Blood; Faustus’s rejection of the ancient authorities; the good angel and the evil angel
Dipictions of hell:
One of our researched tasks was to look for images of hell because and differant portrays of hell. Hell has a dominant presenace in Doctor Faustus becuase many of the devils appear from Hell. Faustu’s plays esentaly plays with fire and in the end and burnt because he gets dragged to hell because of the sins he has commited because he was to power hungery.
Demons of Hell:
Characters and descriptions:
(This information has been copyed and pasted from: http://www.sparknotes.com/lit/doctorfaustus/characters.html )
I researched into the character’s online to give me an indication to who these character’s were so i had a better understanding but also prepiration for reading the play so i had knowledge of the character’s to be able to understand there purpose, intention ands relations with other characters.
Character descriptions- (Research- by spark note’s)
Faustus – Is the main protagonist who is a sixteenth-century scholar from Wittenberg, Germany. He craves ambition for knowledge and wealth. His power hunger leads him selling his soul to Lucifer in exchange for supernatural powers. Faustus’s initial tragic grandeur is diminished by the fact that he never seems completely sure of the decision to forfeit his soul and constantly wavers about whether or not to repent. His ambition is admirable and initially awesome, yet he ultimately lacks a certain inner strength. He is unable to embrace his dark path wholeheartedly but is also unwilling to admit his mistake.
Mephistopheles – A devil whom Faustus summons with his initial magical experiments. Mephistopheles motivations are ambiguous: on the one hand, his oft-expressed goal is to catch Faustus’s soul and carry it off to hell; on the other hand, he actively attempts to dissuade Faustus from making a deal with Lucifer by warning him about the horrors of hell. Mephistopheles is ultimately as tragic a figure as Faustus, with his moving, regretful accounts of what the devils have lost in their eternal separation from God and his repeated reflections on the pain that comes with damnation.
Lucifer – The prince of devils, the ruler of hell, and Mephistopheles master.
Evil Angel – A spirit that provokes Faustus with reasons not to repent for sins against God.
serves as the counterpart to the good angel and provides Faustus with reasons not to repent. The evil angel represents the evil half of Faustus’s conscience.
Good & Evil angels ( counter react to each other both representing the good and bad side of Faustus conscience.)
Good Angel – A spirit that urges Faustus to repent for his pact with Lucifer and return to God. The good angel represent Faustus’s conscience ( in many ways ) and divided will between good and evil.
Old Man – An enigmatic figure who appears in the final scene. The old man urges Faustus to repent and to ask God for mercy. He seems to replace the good and evil angels, who, in the first scene, try to influence Faustus’s behaviour.
Chorus – A character who stands outside the story, providing narration and commentary. (An ensemble of cast members)
Wagner – Is Faustus’s servant. Wagner uses his master’s books to learn how to summon devils and work magic.
Robin – An innkeeper, who is an arch type character of a ‘clown’ provides comic contrast to Faustus and is friends with Rafe.
Rafe- Is Friend on Robins who both try and conjure magic.
Robin & Rafe ( Both character’s learn some basic conjuring which demonstrates that even the least scholarly can possess skill in magic this illustrates Faustus degradation as he submits to simple trickery such as theirs.)
Valdes and Cornelius – Two friends of Faustus who are both magicians, teach Faustus the art of black magic.
The Scholars – Faustus’s colleagues at the University of Wittenberg. Loyal to Faustus, the scholars appear at the beginning and end of the play to express dismay at the turn Faustus’s studies have taken, to marvel at his achievements, and then to hear his agonized confession of his pact with Lucifer.
The pope – The head of the Roman Catholic Church and a powerful political figure in the Europe of Faustus’s day. The pope serves as both a source of amusement for the play’s Protestant audience and a symbol of the religious faith that Faustus has rejected.
Emperor Charles V – The most powerful monarch in Europe, whose court Faustus visits.
Knight – A German nobleman at the emperor’s court. The knight is sceptical of Faustus’s power, and Faustus makes antlers sprout from his head to teach him a lesson.
Cast List:
- Harley – Faustus
- Jenifer – Mephastopholies
- Kayleigh – Cornelous / belzebub / the cardinal of lorraine
- Tom – Rafe / Valdes
- Paul – Robin
- Bradd – Emporer / covetousness
- Corrine – Dutchess / wrath
- Jenny– Vitner / Pride
- Karl (erasmus) – Lucifer
- Dillians (erasmus) – old man / letchery
- Ross – knight /gluttony/ the pope scholar
- Tash – scholar/ envy
- Allie – Good angel
- Chelsea – bad angel
- Shannon – wagner
- Becca – sloth / scholar
- (Steph – Helen of Troy)
- Friars/ demons
Evil Angel: Annotations on script.
Reasearch: We watched two adapations of Doctor Faustus.
As a company we watched Matthews Dunster’s version of his inerpretation which was performed at the Globe Theatre. His adaption was very traditonal.
Elizabeth Freestones adaption of Doctor Faustus
As a collective we watched a contemporary version of the play which was presented at Greenwich Theatre and Directed by Elizabeth Freestone. Freestone’s interpretation completely contemporised the play modernising it so it becomes recognisable and relevant to today’s era. The whole concept of the play was modernised through technical aspects and production design. From the moment it started I was complexly captivated and intrigued. They really captured the essence of the ‘Supernatural’ through storytelling and physical theatre.
Rehural process:
Games: (Teamwork) In starting the rehursals we spent a good half hour each session playing games for focus and concentration but through work. The one exerise we used on a few ocations was ‘Knot’ In which everyone created and circle and you all hold hands with people across the circle until your all become very tangled, after that we had to find away and work as a team to untangle the knot. This activity got us all comunicating effectivly and working together as team. To fire motivation we used to have competitions in which we split the cast in half and had competiion in who could unknot themselves first. It was a nice healthly competition.
Activitie: (Focus, concentration and comitment) In starting the sessions we used to throw the ball in the air and we had to all work together and see how long we could keep the ball up for.
First initial read:
During our first week and a half as a company we spent a lot of time focused on just reading and analysing the text to become familiar with the language and tone of the play. This is because the language in which the play was written is ‘early modern English’ therefore in comparison to today’s spoken English Language it is very different to how we speak and communicate in the 21st century. Not only is the play’s language early modern English but it heavily uses the Latin language which is heavily influenced in the play. The first read was very dry because this was the first time in which we as a company read the play alltogether. From my perspective I feel this was the right directorial decision to keep reading through the play because even though the process of just doing read runs can seem repetitive and time consuming It was essential to the learning process because it is such a detailed play that as actors we needed to know and understand the play.
The first read through that we did was as an ensemble we all sat in a circle and took it in turns reading the different characters. This gave is opportunity to play with tones and expressions for the different character’s. The read through was a ‘rough read’ because we were getting familiar with the text and this was the first time in which we were together as a company. I also feel that you personally develop your skills as in individual because you are required to listen following the read through so you know what is happening in the story but also then if you have any concerns or quires you can direct questions and stem discussions. You also build on your focus and concentration skills because you are all speaking in turn. Most importantly sitting together and doing a spoken read through has a different atmosphere and learning experience from when you independently read it to yourself compared to speaking it out loud in front of everyone. It was slightly intimidating reading it out loud because you can feel conscience about pronouncing words wrong however speaking out loud helped find the rhythm and tone of the language and collectively we created a circle of trust with one and each.
Rymthm of the Language:
Once we had finished the read through we expressed our thoughts and on mutual agreement admitted that the play was rather difficult to understand because of the language style and the Latin.
Following the read through we cooperatively watched a contemporary version of the play which was presented at Greenwich Theatre and Directed by Elizabeth Freestone. Freestone’s interpretation completely contemporised the play modernising it so it becomes recognisable and relevant to today’s era. The whole concept of the play was modernised through technical aspects and production design. From the moment it started I was complexly captivated and intrigued. They really captured the essence of the ‘Supernatural’ through storytelling and physical theatre
On the contray we also watched Matthews Dunster’s version which was performanced at the Globe Theatre. The production as very traditional to the classica conventions. I personally didn’t enjoy this verion as much because it was simplisitic and straight acting so on ocations I found myself getting distracted. However, Watching two versions of the play had a huge impact on helping me understand the play because i found it difficult understanding the play through just reading it because i couldn’t visally see it. Therefore, seeing two differant interpreations was really useful because you could see how they were both adampted and how the character’s interpreatiaons differed from each other.
Once we had watched both productions we did another read through in who we were casted as. At the end of each of the scens we had group decusiions on the scenes to we were all fully aware of what what happening in the scenes. I leanrt quite a lot from this read through as broke down the conversartions bwteen the characters and disucsed there purpose and intentions in the scene. Therefore, i could anoate my script and note take on the parts that i didnt understand.
Set task for final group read through:
Everybody for next session, right out translation of your lines so it’s more modern english.
The final read through as a company was our own tranlations in modern english of what our character’s were saying. This was really beneifical because you got to undersntand every scene in context and every character. This meant that we had to really focus and listen to each to other.
The importance of read throughs really helped me understand the play because I admitatly struggled because the text didn’t sink in straight away.
October 21st, 2014
October 30th, 2014
Maps of Germany- Trier
2nd Decemeber 2014,
3rd, Decemeber 2014 ( Dress & Tec )
Dress Rehursal Photos:
Demons:
Coventry Universty adaption of Doctor Faustus:
- ACT1
- ACT 2
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