Evaluation

I set several targets throughout the project, which I aimed to achieve by the end of the project, or action
throughout the project to better my portrayal of Tybalt in the final performances. I began to action each
of the targets through the pre-production and the production stages of the project. The tools used to
accomplish the targets are listed in chronological order in my project proposal.

Beginning with the pre-production stage, the first target that falls into this category is of a
characterization theme. So naturally it would belong before rehearsals, so that I can begin to develop
my version of Tybalt. Target: Construct a backstory for Tybalt using Katie Mitchell's questioning
technique. Straight away, this technique I haven't applied to my own work, so it is new to me. This is
taking a risk; as I could lose time. That being said, I could benefit from this technique, and apply it to all
my character development work in future acting endeavors. So that I attempted this teaching correctly, I
researched an example of Katie Mitchell demonstrating her questioning technique with other young
actors. To avoid the risk of falling behind in the character development phase, I planned this research
session early in the pre-production stage, using my calendar. Overall, this technique proved effective for
me as I was able to conjure the roots to my character's backstory. However, one of my strengths is
listening to, and applying redirection – so in hindsight, I should have asked a peer to prompt me with
questions, to really make me think that little bit further.

My second target of this stage, which is: Create a bank of memories, to enlarge my understanding of my
characters world. Not solely relying on my personal experiences and attempting to relate to the
character. This target I derived from the teachings of Stella Adler. It is also similar to my project aim –
except with this target, I am actioning my aim by implementing Adler’s technique: to create a bank of
memories for your character. In order to fulfill this target, I had to research Adler’s specific methods of
creating a world for Tybalt.

This would include making assumptions after analyzing the text for indications of the character's nature.
From here on, I can make judgements as to how my character would react to different circumstances.
Additionally, understanding the social context of Tybalt if he were to be around in today's world –
remembering historically Tybalt is the villain of the piece. This branch of the technique is beneficial to
me as researching historic/social context is a strength of mine. Thinking about a contemporary setting –
what are the villains of the modern world? With the influence of the themes of our version of Romeo
and Juliet, such as knife crime, I believe Tybalt to be affiliated with knife crime and gang culture.
Remembering his family’s powerful social status, this might suggest there is a seed of corruption
amongst the wealthy Capulets, and Tybalt orchestrates the dirty work.

With the benefits of this extensive research, my aim was to create a realistic performance using an
imagined world, formed with a bank of memories informed from various sources such as YouTube and
films of a gang culture / knife crime theme. As well as this, I can use my bank of imagined memories to
make decisions in the production stage. As one can imagine, this target is a time consuming one to
achieve, so I planned and organized material observation time, using my calendar. In order to evaluate
whether or not, I have managed to create an authentic mental image on stage - I have self-assessed,
through watching my recordings of rehearsals, and I strongly believe that my character seems more
authentic and less like I am acting on stage.
Moving on to production, the first target involved is: Use gesture to define my intentions at different
points throughout the play – not solely relying on dialogue. Gesture can add another layer to the
intention – providing more clarity for the audience. Researching Brecht and his gestus teachings helped
me understand the importance of a clear gesture as he teaches his actors using a photograph method,
whereby the actors must identify the intention or given circumstance, purely from observing the
photograph alone. Quickly this target was modified to: Provide an enlarged performance, remaining
aware that every action and gesture must be visible to all sides of the audience as we are performing in
the round. A productive device, that I actioned instinctively was observation. By observing Gabbie (the
other actor playing Tybalt) I could notice how she would exaggerate her gestures when drawing her
knife. It was also a powerful way of introducing, the revealing of knives to the audience. As we were
performing in the round, I was presented with the opportunity to be closer and at the same level as the
audience, especially during fights. That said, a threat presented to me when performing in the round is
that I am visible on all four sides, so I must supply an appropriate reactions to getting hurt and
remember exactly when the slow-motion areas are in the fight sequence. Again, the tool of observation
proved beneficial, as I would learn from Zak (the actor playing Romeo) to snap out of slow motion with a
degree of exaggerated speed. This technique that I learnt from Zak was especially useful as it assures me
that I am overcoming this weakness of mine; whereby I find it difficult to make slow motion sequences
seem fluent.

On the topic of stage fighting, my next target of the production stage came about during the technical
rehearsals and was prompted by a teacher. Target: Include an exaggerated use of breath during the fight
sequence so that it seems realistic. When observing Gabbie perform her fight sequence, she used a lot
of heavy breathing to connote the breathlessness one would experience during a fight. It also was an
effective method of revealing pain as Tybalt is beaten in manner of ways and has two back-to-back
fights. From here I reflected on said target and decided that the use of actor's gaze is just as relevant in a
fight as exaggerated use of breath. So, I set myself the modified target of: I need to place fixed actors
gaze at certain points during the fight to prove my passion/wrath. The frequency of actor's gaze varies
within the fights between Mercutio and Romeo as Mercutio, Tybalt is fighting for the sake of it, and
Romeo is being fought with out of hatred. To ensure that I include these theatrical devices it is
important that I plan personal practice time using my calendar. After much rehearsal and run throughs
of the play, it was obvious that I wasn’t being careful enough when it came to fight safety. I was focusing
on believability. This was commented upon by one of my teachers. Therefore, it is crucial that I plan a
sufficient amount of personal practice time in my calendar.

Target: Discover the contrast in Tybalt's posture when he is experiencing different emotions. To achieve
this target, I would use research to inform my body posture decisions in the pre-production stage.
Whereby, I would learn about tension states from the teachings of Jacques Lecoq to demonstrate a
physical representation of a shift from provoking/teasing to deranged. This is where my modified target
came in: Portray the character arc – Tybalt's mental descent through his shift of posture throughout the
play. I know that the same can be achieved through the use of proxemics. For instance, Tybalt travels
with servants at his side, but after his confrontation with Capulet at the party, Tybalt’s mental state
changes – he disregards their existence even further. Even to the extent of screaming at them until they
flee during Act 3 Scene 1 (in-between fights.) After investigating the text, I know that Tybalt holds a lot
of respect for Capulet, so after their fallout, Tybalt proceeds to obsess over Romeo in a psychotic
manner.
During the performance run, I discovered quickly that you can't rely on stage management to give you
the cues. It is up to me as the as the actor to be ready and waiting backstage. Even though our
production was very much based on the original Romeo and Juliet, we pretty much started on a blank
page as we had to create a piece relevant to contemporary audiences. As this was my first full scale
production, all the transferable interpersonal skills, I was implementing for the first time in an actual
production – not just college workshops. I have discovered multiple character exploration techniques
over the course of two years at college. This was the first time that I put them to use in front of an
audience. Character development techniques are personal and work more efficiently with different
people. I discovered that the independent character development techniques such as improv and hot
seating are an efficient way to create the roots for building your character. From practicing these
workshops, I had the research necessary to make decisions during the early blocking stages of rehearsal.
My aim was to: I need to achieve a realistic performance, whereby I need to expand my imagination, to
create a realistic character. I researched Stella Adler’s imagination technique in depth, so that I could
create an authentic image – it doesn’t seem like I'm acting on stage. Researching YouTube videos, to
listen and experience fights and crime allowed me to build a world of which Tybalt is apart and very
much controlling. The tool of research informed my decision making during the rehearsals as well as
investigating the text to search for indicators of my character's nature. The tool of observation aided me
to learn from other actors to solve problems that arise. Looking forward, when it comes to my future
acting endeavors, I will certainly use Adler’s imagination technique as my main tool for characterization.

After the casting process, I knew that I wasn't prepared sufficiently. In the future, I need to begin line
learning as soon as I am determined to audition for a role. I have learnt about the importance of
company values and respecting everyone's opinion. This way, a company communicates more
efficiently, and problems are solved quicker. One of the main points I have discovered on this journey is
that measuring success is a lot more efficient when you consult peers to assess you rather than just
yourself. As well as this, contributing ideas and volunteering can make you a more valuable member of a
company. Another element that makes you stand out is always meeting deadlines – including line
learning. These are the transferable skills that I have discovered on this journey, I'm hoping this will
make me more employable in the future.