Callum Bright

Drama Assessment Theory

Contemporary Australian

DIRECTORIAL VISION
Assigned with a scene from Neighbourhood Watch which requires a flexible and
dynamic cast, I imagined there would quickly be many obstacles and unknown
difficulties.
Role assignments were of course the first matter of importance, as passionately
expressed by some members. I was direct in my belief that the assignment of
characters should solely be based on a dramatic statement we could agree on,
one such conclusion I came to upon my first reading of this excerpt which is: Ana
as the observer/storyteller in which Catherine assumes her younger self in the
days of Hungary. This statement frames the entirety of the two scenes
highlighting the parallel between Young Ana and the Soldier against the
Catherine and Martin situation. From my understanding, Catherines involvement
in Anas backstory heavily influences the imagined dream which begins the
second scene of Act Two which serves as the complication and force which
strains the relationship between Catherine and Ana. Supported by my claim of a
character parallel, I proposed that the actor playing Catherine also play Young
Ana, reinforced by a decision for Martin to play the Soldier.
Another motive however was the particular necessity for romantic interaction in
two instances of the excerpt between two characters. The onstage capability to
express intimacy between the two are what contribute to the climactic moments
of the excerpt which need to be approached not only in good taste but with a
direct intention for an audiences magnetic engagement as opposed to an
uncomfortable repulsion. Treatment of these scenes needed to be approached
carefully and with a degree of sensitivity for the maximum effect.
A decision among us included the rewrite of the character Jovanka to a
flamboyant male equivalent Jovan, mostly due to actor capability and the
practicality/belief factor. Making it easier for us to make progress, this choice
naturally came about without hesitation to alter thereafter. The resulting
characterisation was assigned to our actor for Jovan, to which for a period of time
remained ambiguously undefined.
The omission of the raft scene came as a consequence of considering realistically
how to stage it effectively in accordance with the occasionally crippling stage
limitations. Initially realised on a revolving transformational set, the options
available to us were incredibly scarce, overly complicated, unrealistic or tacky. In
order to achieve a smooth transition between the first two Hungary scenes.
Other script amendments applied for convenience in character transformations
and decency/necessity.
Neighbourhood Watch proves highly dependent on characterisation, and so I
found myself guiding characterisation of certain group members and their
characters. Ana although strong and culturally unaware of Australian
mannerisms, is also a woman and should be approached sensitively as someone
who has been grievously hurt through experience. Her demeanour may come
across as shrewd and upfront but underneath is a caring woman wishing to
impart wisdom on the young and unknowing Catherine saving her from making
decisions with lasting ramifications. In my opinion I dont believe she should be
portrayed as violent and striking, I imagine her as reserved and donning an

Callum Bright

Drama Assessment Theory

Contemporary Australian

innocently devious faade as excuse to mould Catherine. She is forceful and

graceful, not clunking and hefty. Gliding across with only age withering her
posture and powerful presence, paradoxical in concept but effective in
physicality when achieved properly. When speaking to Catherine she should be
cheerful and supportive, rather than scolding. She should be the doting adoptive
grandmother figure, fulfilling the powerful womanly figures Catherines life lacks
the guidance of. My interpretation is shaped by a similar figure in my life who
attempts to, with very innocent and supportive intentions, guide my life to be
successful and bountiful, as her eyes envisage. Ana is truly the main central
focus of Neighbourhood Watch and should be valued so.

DRAMATIC PRACTICE
Neighbourhood Watch assumes the form of a play submerged in a nonnaturalistic style, with aspects of the fantastic and magical manipulating the
overall reality of the otherwise naturalistic play. Instances of the magical
occurring in the play and represented profusely within our scene is not only the
character of the ghostly Martin but also Anas recollection of life in war-torn
Hungary to where the action of the play frequently relocates, aiding in
developing the dramatic meaning behind the current contemporary action.
Catherines lover Martin appears throughout the play and continues to occupy
her thoughts, a major threshold in her grieving. The confrontations between
Catherine and Martin, although natural, hold a peculiar unusual quality within
them. It is revealed that this is occurring within Catherines imagination for
Martin took his life after struggling with depression two years ago. The magical
element to this situation is starkly different to a surreal incarnation for it occurs
within a realistic environment e.g. a park or street as opposed to a fantastic and
surreal dream space.
The travel through and consequential manipulation of time within the piece to
the Hungary scenes are an integral component of the play. This time travel
analeptic function is used to explore the themes central to the resilient character
of Ana, the driving player. In our scene, a Young Ana in the aftermath of World
War II learns how to love amidst a context of extreme hardship and political
strife. The issues explored include the trauma of wartime, the journey of the
immigrant and the tumultuous passage through life and death woven together
through heartache and equal tenderness.
The scope of the plays wide spanning context and its situation across two
generations and juxtaposed continents permits the play to explore very human
issues and concerns. Concerns which embrace a range from political and cultural
to social and personal. The sophisticated motivation of the plays content is
maximised, in my opinion, by this conscious choice to rely on the integration of a
pivotal foreign character.

REHEARSAL
Our scenes express an intent to heighten and produce a specifically tender and
romantic atmosphere in certain scenes. The incorporation of music greatly
enhances the action on stage, filling the silence and creating an affectionate and
sensitive mood. Particular lighting for scenes such as the Hungarian Infirmary
where we exploit a very focused spot in our opening, a starting point for the

Callum Bright

Drama Assessment Theory

Contemporary Australian

audience to be aware of the space and creating a painful yet intimate

atmosphere. Also in the instance of Martins scene we can capture the essence of
surrealistic atmosphere through a hushed blue lighting, reinforcing Catherines
highly idealistic imaginative situation.
Employing focal techniques into two distinct moments we can enhance the
dramatic action through the abstract segregation of the stage. Regarding our
staging, the protruding focus of the main action (Martin and Catherine)
almost invades and provokes the audiences attention, through positioning
forces the audience to look at the closest action, meanwhile the secondary
action (Ana and Jovan) recedes back and across the stage, indicating both a
removal and distance from the current action. Highlighted through lighting
techniques and frozen transitions we are capable of communicating two very
separate moments in the dramatic space.
With an almost entirely realistic and natural approach to movement we are
capable of further presenting our non-naturalism theatrical style claim, retaining
a consistency we are never out of character but instead interact with the space
as actors as opposed to manipulating. Our choice to move within in a mostly unaltered permanent space reinforces our naturalistic approach, it is our
directorial manipulation of time through lucid transitions involving this very
minimal transformational set between scenes which suggests a distinct shift in
time and place. Supported by variation in stage lighting and character and
natural transformation we effectively communicate this re-location.
I have taken a Non-Naturalistic acting approach for Martin to illuminate and
convey the surrealistic aspects of the intended production, fantastic
imaginative scenes in Catherines memory/imagination hybrid state.
Although predominantly naturalistic in style, these moments are essential to
retain some aspect of surrealism to highlight some unusual aspect of the
situation contrasting with the majority of the remainder of the play.