Interpretation for Performance Analysis Task:
The relationship between a performance and a play should not be considered naturally one of interpretation. Although the process of coming up with a dramatic performance in general has within it interpretation, it also comprises of applying make-up and memorizing the lines. This acts as the foundation before dramatizing a particular role in a play (Kuppusamy and Anantharaman, 2012).
In essence, the first witch seems to portray the idea that she is the leader or elder of the other witches. From this aspect, it is important to note that her character will be more commanding than the others. She is the witch that comes up with idea of how they can achieve their objectives and goals. She provides the other witches with the guidelines of how they go about their tasks in an effort to ensure they meet their goals and objectives.
When preparing to get on stage and act a particular role it is important to be in sync with the character you are playing. Therefore, when practicing and memorizing the lines you should ensure that you are doing that while already in character and pretending the play is already in progress. This will help in building better confidence and instill a sense of better understanding of your character. In addition to this, the costumes and makeup should also be in play to know how they go hand in hand with the character. Putting on the makeup and costumes of the day of the play may prove disastrous, as the costumes may not be in tune with the characters. For instance, the costumes might be too big or too small an adjusting them might take a lot of time leaving no time for the play.
Being the first witch indicates you have to bring out a character that has leadership skills, has the brains and comes up with plans for the others. The character should not appear as if she can be overthrown by either one of the other witches. The best way to achieve this is to conduct the practice within the presence of the other two witches. This will give you a better understanding of their characters and offer you a platform to learn how each character should present themselves to ensure you are portrayed as the leader of the pack.
In addition to this, in particular to the costume it is important that my costume be different. The difference is aimed at drawing the audience to my character to make them question as to why I am different. Through this they will be able to get the idea that I stand out because am the one leading the others; I provide them with the guidance necessary to ensuring that our missions and endeavors are successful. It is important to note that appearance of the character should be in itself a well detailed description of the role of the character even before relaying the words.
Distinguishing my character from the rest will be one of the goals to be achieved before the play is performed. This is aimed at ensuring that your role and character is not overshadowed by any of the other characters and their roles. This will also include coming up with a positioning style that will be drawing the audience to my character and performance. The positioning styles should be directed at showing my leading abilities to my other followers. However, it is also important to note that my character again should not be too commanding that it overshadows the other characters and that their presence or importance is not felt in the play (Moncrief and McPherson, 2011). Thus, it will be important to come up with a balancing play that shows command but leaves room for the other characters to be part of the play.
In practicing for the play, given that my character will be cast at scene three it is important to meet with the first witch of the other scenes. This is so as to ensure your character appears to be the same, being in sync and one does not overshadow the other. From a general point of view, this will entail adding more hours to the practice as the idea of synchronizing the characters is additional work aimed at ensuring the success of the play.
The amount of time put in should be more than the play will essentially take. This is so as to factor in the additional work being put in such as synchronizing the characters and coming up with costumes that best bring out our characters; relaying the message even without the use of words. The key areas of focus pertaining to my character in the play is when, the first witch comes up with a plan of how they will overrun the ship in which they will be sailing.
The character of the first witch brings out an element of trying to win a battle they seem to have been loosing over time. She has come up with a bright idea that will better their chances of becoming successful in comparison to the other times. However, it is not aimed at promoting the past failures that might have happened, the character is meant to draw the audience to the fact that they are about to become victorious through a well outlined plan. In addition to this, the character will also portray a sense of having become wise and gained knowledge from past mistakes that might have been done. Generally, the role of the first witch character is to bring out the theme of resilience on the part of the witches regardless of the fact that their characters are usually out to cause havoc.
Cover Sheet:
Performance Decisions (up to six)
1. Got myself a costume that stood out from the rest to bring out the idea that my character was more of a leader to the other witches.
2. Conducted additional plays during the practice so as to be in sync with the other characters that played the same role.
3. Tried to come up with a commanding voice to bring out the idea I was the leader of the pack
4. Devised a way to promote our plans to being successful rather than showing past failures
5. Tried out different positioning styles
6. Tried different themes related to the main theme to know which brought out the best of my character without overshadowing the other characters
References:
Kuppusamy, J. and Anantharaman, R. (2012). The Link between Export Performance and Export Development: Does Managements’s Motivation Play a role? JOMS, pp.1-11.
Moncrief, K. and McPherson, K. (2011). Performing pedagogy in early modern England. Farbham, Surrey: Ashgate.