The performance aspect of my journey with Rubbish Theatre has been more complicated than my role as producer and this is because of the collaborative nature of Rubbish Theatre. We decided that all members would be involved with the creative process which meant that we all followed the journey of the piece. We decided quite early on that we did not want to create a naturalistic piece but rather something abstract and without definition which pulled inspiration from a wide range of theatre.

As the process continued we felt that it was best to have one definitive protagonist which the audience developed a connection with and that the rest of the cast’s characters were utilised as a means to expand on this character. Subsequently, our characters became ‘creatures’ and we were left with no identity which made it difficult to react within situations. For example, during the final scene in which Jacob Toon and Kerrie Crockford are dancing as a representation of the battle ‘the cyclist’ is having within himself, the rest of the cast are spectators that are indulging in the activity. This means it is difficult for me to create reactions that are true to my character.

Whilst creating a character within this piece I decided it was best to have a superseding attitude towards the character of ‘the cyclist’ and this is because our characters were all extensions of his mind. Therefore, I had to decide whether I wanted to exploit the cyclist’s madness and if his descent into our world caused me pleasure or if it was resentment that drove me. I decided it was important to understand the character I was attempting to play: ‘all the choices of your behaviour will grow out of who the character is’ (Yakim, 1993, p. 161). Throughout the journey of creating our performance I grew in understanding of the character I wanted to portray. Specifically, in the ‘memory’ scene in which I lure James Crawford’s character into the reclining chair and encourage him to open up about his past. Through exploration of my intentions I found that I was utilising my sexuality as a creature to seduce his character into revealing truths thus providing my character with the intention necessary to influencing my behaviour. Additionally, I concluded that ‘it is always the character that guides you in your actions… otherwise, movement becomes gesticulation and the voice empty of meaning’ (Yakim, 1993, p. 155).

Word Count: 404

Works Cited:

Yakim, M. (1993). Creating a character. 1st ed. New York [u.a.]: Applause.