Freedom outside

Another performer who I thought stood out was Mariana Whitehorse who acted as Miranda. She gave a gentler performance to the other characters and acted the role of an innocent daughter growing up excellently. At the start of the production, Miranda enters behind her father, Prospero, whilst he searches the stage. She appears to be inquisitive as she stands on the decking of the house and looks around with a smile on her face and her eyes wide.

When she finds a guitar she hands it to her father and he starts to play a tune. Miranda turns from this shy, mellow girl into a passionate and confident singer, much like Caliban by singing loudly and smiling as she performs. She danced all the way through the song which implied that she liked the song and enjoys coming out of her shell. I liked the way that Whitehorse made eye contact with the audience as it showed that she was more confident.

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Miranda often skipped, walked with a jump in her step or ran lightly toward people. This suggested that she was still behaved in a childish manner and was always happy to see people. For example, when she saw Antonio, she ran towards him, almost leaping, which suggested that she was happy to see him. She then began to act more confidently around her father by asking him more things such as to go to Caliban’s and looking him in the eye. When she did not get her own way, she often threw a tantrum; pleading in her voice and walking around in an upset way. This also enhanced our view of her personality and showed that even though she wants more freedom, she acts like a child.

I thought the intimacy between Miranda and Caliban was played very well. When Miranda saw Caliban for the first time in the play we immediately saw a change in emotion from Whitehorse. She smiled a lot when she was around him and the audience could see a sparkle in her eye when she was dancing with him. When he began to chase her around the room whilst she was dancing, she giggled which is a very childish act. It also shows the audience that she has a good time around Caliban. Although Miranda was fascinated by Caliban and wanted to be with him, Whitehorse continued her inquisitive nature about her by asking lots of questions and demanding an answer.

Whitehorse generally kept a good connection between her and other characters, because not only did the rapport between her and De Paula work well, the rapport between her and Santinho seemed real too. The audience could see that Miranda and Prospero were daughter and father and Whitehorse acted this well. The way in which she spoke to her father was very childish for a daughter as old as she was portrayed. This suggested that she still wanted her father to treat her as a child at home but wanted a little more freedom outside. Although parents and children often disagree, I feel that Whitehorse didn’t play the role of an upset teenager as well as her other emotions. She just resided to her bedroom weeping and then suddenly started begging Antonio to let her out. I feel that the way in which she did this was very cunning and totally out of character.

I did like the way in which Whitehorse moved on stage when she was a dove. She began to move very awkward and jerkily as she was just getting to grips. However her face was serious and she was determined to master the gracefulness of a dove. As the play went on, Whitehorse grew more graceful and I think this was symbolised by the tree next to Miranda’s bedroom. In the end she performs the role of a dove very easily and dreamily by her at moving faster pace and in a larger space. Silence for under-water then noise for above. Although Knock Against My Heart has clear references to The Tempest, it is very original, depending on movement rather than dialogue. Heavy on symbolism, Knock Against My Heart requires you to interpret much of the scenes.