Tally’s Blood Ann Marie Di Mambro Textual Analysis Tally’s Blood Ann Marie Di Mambro

Textual Analysis In this Section you will be asked a question that allows you to answer from the perspective of a director OR an actor OR a designer preparing for an intended production of your selected text. Your answer should refer to your selected text. We will begin by looking at a the text form the perspective of an Actor.

Textual Analysis 3. As an actor, choose a character from your selected text and describe in detail five different emotional responses that this character would get from an audience. (You must use textual references from the play to help you justify your answer.) Explain, in detail, the ways in which you would use five acting concepts to gain these emotional responses from the audience. (These need to be related to the first part of this question.)

Textual analysis Choose a character List 5 emotional responses they would get from the audience. Give 5 examples from the play of when the audience would feel each of these emotions. Describe moment and the over all impact on the audience. Provide evidence (i.e. quote) How would your acting help to provoke this response? Begin by describing voice & movement. A great deal of detail is needed, terminology must be used.

Acting Concepts Once you have identified and shown textual evidence for your chosen Five emotional responses, you then have to identify at least Five Acting Concepts you would use to help convey the Five emotional responses of the identified character in performance 

Acting Concepts Characterisation – What techniques were used to help understand the character, develop a particular character trait you identified. Acting style – Naturalistic / stylised Stage proxemics – Positioning on stage / with other characters. Interaction between characters

Acting Techniques The different ways that the actor uses voice – Describe the way particular lines are delivered using voice terminology. The different ways that the actor uses movement – Describe the way particular scenes / moments are performed using movement terminology. Working as an ensemble – Characters working as a group / chorus The actor’s use of props

Acting Techniques The actor/audience relationship – Do they address the audience directly? How do the audience feel about the character? The relationship between spoken text and physical movement or gesture Changes in mood/atmosphere

Rosinella Pedreschi Emotional Response: Anger 1.“Its one thing to play around with them, as long as you marry your own kind” 2. “Do you think if Italian girls were allowed out, got doing all the thing you girls get doing, that Franco would have looked twice at you” 3. “So he’s played about with some Scotch girls, so what? You’re no the first and you’ll no be the last.” 4. “if we don’t do something now – and I don’t care what it is – the lassie could end up with Hughie Devlin.”

“Its one thing to play around with them, as long as you marry your own kind” Movement – Rosinalla is talking to her brother in law Franco & trying to discourage his relationship with a Scottish girl. She is busy working in the back shop but to highlight how strongly she feels about this and her racist attitude towards the Scots I would focus on her movement. She would stop what she is doing, emphasising that she believes what she is about to say is important and turn to face Franco making and maintaining eye contact. Her posture would be very straight and her facial expression serious as she wants Franco to heed her warning. She would have her downstage hand on her hip and would point at him in a warning gesture to further emphasise what she is saying. This would help the audience understand that she really believes there is something wrong with an Italian marrying a Scot. Her racist attitude would cause the audience to feel angry at her narrow mindedness, they would feel annoyed that she was so serious about this issue.

“Do you think if Italian girls were allowed out, got doing all the thing you girls get doing, that Franco would have looked twice at you” Voice – Rosinella is implying that Bridget had more freedom that Italian girls do and this was the only reason Franco was interested in spending time with her. She is being deliberately cruel to Bridget, which would anger the audience. Her racist attitude towards the Scots means she vehemently disapproves of the relationship Franco had with Bridget. She would deliver this line with a cruel and vindictive tone. She would but emphasis on the word you to indicate she disapproved of Bridget and that she had a low opinion of all Scots girls. Her volume would have been loud so as to intimidate Bridget in this scene. Her use of voice would be confident and this would further emphasise to the audience that her racist attitude was something she genuinely believed. Rosinella’s nasty tone of voice and treatment of Bridget would anger the audience.

“So he’s played about with some Scotch girls, so what “So he’s played about with some Scotch girls, so what? You’re no the first and you’ll no be the last.” Stage proxemics – Rosinella continues to work centre stage, preparing dough. Her position on stage in relation to Bridget shows that she has the higher status and is the most powerful and influential character in the scene. As she delivers the first part of this line she will stop what she’s doing and turn to face Bridget, looking her up and down disdainfully, Bridget, feeling intimidated will turn away slightly. Her inability to match Rosinella’s confident stance or maintain eye contact demonstrates Rosinellas power in the scene and her position centre stage also underlines this. When she says “you’re no the first” she would pick up the tray with the dough and take a small step towards Bridget, who would unconsciously take a small step away from Rosinella. This clearly shows how Bridget is intimidated by Rosinella’s racist attitude which would anger the audience.

“if we don’t do something now – and I don’t care what it is – that lassie could end up with Hughie Devlin.” Use of props – Rosinella has confiscated a letter that Hughie gave to Lucia. She rushes on stage brandishing the letter, her fast pace and panicked facial expressions show how angry and worried she is. She is unable to read so she is desperate to have Massimo tell her what the letter says. She thrusts the letter at him, showing how desperate for information she is. when he refuses she unfolds it and puts it on the table centre stage, and points at it, jabbing it with her finger as she says “if we don’t do something”. The fear and panic she shows clearly demonstrates the audience her disgust at the idea of Lucia ending up with Hughie, highlighting how racist she is. She pays little attention to what Massimo is trying to tell her, she picks the letter up and desperately scans it trying to understand the words. Her preoccupation with the letter demonstrates to the audience how her racist feelings over ride everything else.

Bridget Devlin Characteristic: Lacks confidence Bridget “What was that?” Franco “Relax Bridget. You’re a bag of nerves.” “I’d regret it more if anything happened to you and we hadn’t…” (embarrassed, she can’t find the word for it) Rosinella “So, did he ask you to marry him?” Bridget “No – but – “ Rosinella “Well – there you are then…” “it’s just I – I – need –I’m a wee bit – I – I don’t want my Mammy to know… It’s just…”