10/11/15
Today we all discussed our adult characters, reading out our adult character profiles. Not only is it important to understand our characters, but it is useful to understand other people's so we know how to interact with them better. After this, we ran half of the adult section, keeping in mind what decisions we made about our characters and what we had just learned about other characters. Whenever we had a question or were confused about a line, we would stop and go over this. We did this so we got the attitude of the line correct sooner rather than later, so we had muscle memory and so we were confident sooner. We also sorted out a lot of staging problems: where certain conversations between characters were taking place and who the conversations were between.
12/11/15
To try and learn my script I have been repeating my lines over and over again. I have read through the script every night before dinner and before bed. Whenever I get the chance to, I will go through my lines with Lewis and we will test each other. I definitely find learning my lines easier when I am being tested by a friend, rather than reading over the lines myself.
13/11/15
Today we ran the adult scene in its entirety. We established a weakness in this section, this was page 67. We felt that this page did not run smoothly and the atmosphere didn't build enough for Mary's Mum's break down to make sense or feel real. We decided that the best thing to do was to sit down and discuss this scene. We knew that we needed to build the tension more by making this section run gradually faster and for some lines (closer to her break down) to slightly overlap. As to know when the scene needs to build, we decided to increase intensity in volume and pace after every time the line "We wish...". We decided that this would be a good line to use as it repeats a few times, so we could make the intensity build more gradually rather than in one moment. After establishing this, we decided to go through each line individually and work out the purpose of each line. Whoever's line it was would explain to the rest of the class why they thought their character was saying this and who they were saying it to. The class would then respond either in agreement or with what they thought the purpose was. We noted these points down in our scripts and then ran the scene again. We ran the scene a few times to make it flow properly and to get the build up in atmosphere sorted. We are now a lot happier with this section.
Tuesday, 10 November 2015
Monday, 9 November 2015
Theatre for Children (8) (Scene list)
Scene list & Characters involved
- THE THREE FARMERS:
LF / RA / JBC (f) - MR FOX:
CS / RD / LC / JBC (fc) - PLAN FOR SHOOTING & THE SHOOTING:
LF / RA / JBC (f) / CS - THE TERRIBLE SHOVELS, TRACTORS & THE RACE:
CS / RD / LC / JBC (fc) - "WE'LL NEVER LET HIM GO":
LF / RA / JBC (f) - STARVATION STARTS & MR FOX'S PLAN:
CS / RD / LC - BOGGIS' CHICKEN HOUSE NO.1:
CS / JBC / LC - A SURPRISE FOR MRS FOX:
RD / LC - BADGER:
CS / JBC (fc) / OK (b) - BUNCE'S STOREHOUSE & BADGER HAS DOUBTS:
CS / JBC / OK (b) - BEAN'S SECRET CIDER CELLAR & THE WOMAN:
CS / LC (r) / JBC (fc) / OK (b) - THE GREAT FEAST:
LF (r) / RA (w) / JBC (fc) / CS / RD / LC / OK (b) - STILL WAITING:
LF / RA / JBC (f)
Theatre for Children (7) (Set)
06/11/15
We began this lesson with focus exercises. The first exercise consisted of walking around the room and responding to the teacher's instructions and directions at the same time. This exercise improved our spatial awareness as well as our ability to multi-task. Spatial awareness is essential in performing arts as it avoids collisions and injuries, and also makes formations more pleasing to the eye. Multi-tasking is also essential as performers may need to dance and sing and act all at the same time, whilst remembering blocking and cues. The next exercises involved us saying consecutive numbers, one at a time, without prompting anybody else. This exercise made us connect with one another, making a more easy and effective working environment.
After our exercises we began discussing costumes and set. We needed to discuss costumes to see what everybody had at home before we bought anything. We made a break-through with our set. We have decided that we shall have a couple of wooden blocks positioned DSL and DSR. On one side of the blocks we shall have a bush/hedge picture, on another side shall be a cider jar and maybe on another side a mound of dirt. Somebody will change the blocks positioning throughout the show so that the play so that the side facing the audience represented the location of the scene we were performing at that time.
Furthermore, I gave my role of Bunce to James today. This is because I had three parts (Bunce, rat and fox cub) whilst he only had two originally (fox cub and weasel) then his smaller role of Weasel then got cut (as it was not necessary). I then taught James what he had missed (stance, voice and scene synopsis). Not only was this nice for James as he has a larger role in the play, but it was nice for me as it took the pressure of a little bit as I have two roles in the play and I am also the costume designer.
We began this lesson with focus exercises. The first exercise consisted of walking around the room and responding to the teacher's instructions and directions at the same time. This exercise improved our spatial awareness as well as our ability to multi-task. Spatial awareness is essential in performing arts as it avoids collisions and injuries, and also makes formations more pleasing to the eye. Multi-tasking is also essential as performers may need to dance and sing and act all at the same time, whilst remembering blocking and cues. The next exercises involved us saying consecutive numbers, one at a time, without prompting anybody else. This exercise made us connect with one another, making a more easy and effective working environment.
After our exercises we began discussing costumes and set. We needed to discuss costumes to see what everybody had at home before we bought anything. We made a break-through with our set. We have decided that we shall have a couple of wooden blocks positioned DSL and DSR. On one side of the blocks we shall have a bush/hedge picture, on another side shall be a cider jar and maybe on another side a mound of dirt. Somebody will change the blocks positioning throughout the show so that the play so that the side facing the audience represented the location of the scene we were performing at that time.
Furthermore, I gave my role of Bunce to James today. This is because I had three parts (Bunce, rat and fox cub) whilst he only had two originally (fox cub and weasel) then his smaller role of Weasel then got cut (as it was not necessary). I then taught James what he had missed (stance, voice and scene synopsis). Not only was this nice for James as he has a larger role in the play, but it was nice for me as it took the pressure of a little bit as I have two roles in the play and I am also the costume designer.
Sunday, 8 November 2015
The Flint Street Nativity - Play, by Tim Firth (9) (Script work // Character Profile)
06/11/15
In this lesson we ran all of the children scenes, from both Act One and Act Two. This was to ensure we all remembered the blocking and so we could develop our characters further, remembering recent work on character profiles. Afterwards, we sat down and began character profiles for our adult characters.
Character Profile (Stage Direction = SD)
NAME: Sarah Bennet
AGE: 38
FAMILY: Married (not happily) and one child
LIKES: Homes Under the Hammer
DISLIKES: When things don't go to plan
In this lesson we ran all of the children scenes, from both Act One and Act Two. This was to ensure we all remembered the blocking and so we could develop our characters further, remembering recent work on character profiles. Afterwards, we sat down and began character profiles for our adult characters.
Character Profile (Stage Direction = SD)
NAME: Sarah Bennet
AGE: 38
FAMILY: Married (not happily) and one child
LIKES: Homes Under the Hammer
DISLIKES: When things don't go to plan
- Control freak - Sarah: "Not yet! Not yet!" (61)
- PTA member - Sarah: "It's what the PTA decided. All three of us." (61)
- Polite - SD: "Nodding; politely" (61)
- Old-fashioned - SD: "[Gabriel's mum being a mother] seems to hit Mary's Mum like a clawhammer" (62)
- Always on edge - SD: "lurching" (63)
- Always panicking - SD: "flapping" (63)
- Proud - Sarah: "Wasn't [that the best nativity ever]! There's something about a nativity that-" (63)
- Courteous - SD: "politely, as ever" / SD: "she offers a drink to Star's"Dad"" (64)
- Perfectionist - SD: "trying to stop Wise Gold's Mum messing with the paintings" (64)
- Diplomatic - Sarah: "Hold on. Hold on. I don't think we booked this" (65)
- Angered when not in control - Sarah: "Look we really need to get people back..." (66)
- Patronising and/or caring? - Sarah [to Ass' Dad]: "Straw. So it doesn't stain your beard." (66)
- Demanding - Sarah: "No, we ARE..." (67)
- Breaking down - SD: "too loud" / Sarah: "I don't know" (67)
- Tries to keep herself together - Sarah: "I'm not in charge, all right? I'm... can I just say" (67)
- Weak - SD: "Starting to cry. Mary's Mum exits"
- Supportive - Sarah: "Come on. I'll take you in."
Thursday, 5 November 2015
The Flint Street Nativity - Play, by Tim Firth (8) (Script work)
05/11/15
Today we ran the whole of Act One once, as we have been rehearsing the adult section a lot, but we only sang one of the songs (as we are going to spend a lesson in the future purely on the songs). After this run we discussed what needed improving, this included more energy, remembering the spot light positioning and remembering our cues. We decided that we would run this act again as far as we could in the remainder of the lesson. We wasn't able to finish this act but we managed to fix what needed correcting.
I am also up to date with annotations on my script. I have got into the habit of adding notes to my script as soon as we block a scene. I have now also altered the lines that needed changing in our script, which I have been meaning to do for a little while. Although the lines that needed changing were not my own, I still altered them in my script in case one of the effected characters weren't in during a rehearsal so I could stand in for them. One thing that has been changed was the character of Angel's name from Shamima to Poppy, as our cast member playing this character is not Indian. This also made her breakfast game (on page 26) make no sense, so we have changed "India" to "Chatham", "Pakistan" to "Hempstead" and "coon" to "chav". We also decided to update the script a little bit, so we have changed the "Westlife bag" to the "One Direction bag" and the "Netto bag" to "the Aldi bag". Furthermore, all places have been changed to make the piece more comical, for example, "Morecombe" has become "Sheppey" and "Maghul" is "Rainham", etc.
Today we ran the whole of Act One once, as we have been rehearsing the adult section a lot, but we only sang one of the songs (as we are going to spend a lesson in the future purely on the songs). After this run we discussed what needed improving, this included more energy, remembering the spot light positioning and remembering our cues. We decided that we would run this act again as far as we could in the remainder of the lesson. We wasn't able to finish this act but we managed to fix what needed correcting.
I am also up to date with annotations on my script. I have got into the habit of adding notes to my script as soon as we block a scene. I have now also altered the lines that needed changing in our script, which I have been meaning to do for a little while. Although the lines that needed changing were not my own, I still altered them in my script in case one of the effected characters weren't in during a rehearsal so I could stand in for them. One thing that has been changed was the character of Angel's name from Shamima to Poppy, as our cast member playing this character is not Indian. This also made her breakfast game (on page 26) make no sense, so we have changed "India" to "Chatham", "Pakistan" to "Hempstead" and "coon" to "chav". We also decided to update the script a little bit, so we have changed the "Westlife bag" to the "One Direction bag" and the "Netto bag" to "the Aldi bag". Furthermore, all places have been changed to make the piece more comical, for example, "Morecombe" has become "Sheppey" and "Maghul" is "Rainham", etc.
Wednesday, 4 November 2015
Storytelling (7) (Greek Myths)
04/11/15
Today we completed taking all of the photographs for our stop-motion animation. We used the Brechtian technique of placards to show Perseus's gifts and to label the "sleeping Medusa". One scene we initially struggled with this lesson is the scene when Perseus cuts of Medusa's head. Our first thought was to use photo-shop to remove my head from the pictures, however, this would have been to time consuming and we wanted all of the photos to be real. We then thought about using a placard saying "Medusa's head", but we thought there must be a more effective way of portraying this scene. We finally decided on using a black piece of thick cloth material to represent Medusa's head. The material was rolled up in the middle to form a round shape, whilst leaving the ends down to look like hair. This idea meant that all I had to do was lie down, facing away from the camera, with my head tucked down as far as I could so that the camera would only show my shoulders and possibly neck. The "material head" was positioned next to my shoulders to look like it was my actual head on the camera. All of the photos have been put onto an animation now. Next lesson, we will work out our script for narrating the animation. We have decided that we would like to narrate to our audience as if we were museum guides explaining an exhibition, however we just need to work out exactly what it is we shall say.
Today we completed taking all of the photographs for our stop-motion animation. We used the Brechtian technique of placards to show Perseus's gifts and to label the "sleeping Medusa". One scene we initially struggled with this lesson is the scene when Perseus cuts of Medusa's head. Our first thought was to use photo-shop to remove my head from the pictures, however, this would have been to time consuming and we wanted all of the photos to be real. We then thought about using a placard saying "Medusa's head", but we thought there must be a more effective way of portraying this scene. We finally decided on using a black piece of thick cloth material to represent Medusa's head. The material was rolled up in the middle to form a round shape, whilst leaving the ends down to look like hair. This idea meant that all I had to do was lie down, facing away from the camera, with my head tucked down as far as I could so that the camera would only show my shoulders and possibly neck. The "material head" was positioned next to my shoulders to look like it was my actual head on the camera. All of the photos have been put onto an animation now. Next lesson, we will work out our script for narrating the animation. We have decided that we would like to narrate to our audience as if we were museum guides explaining an exhibition, however we just need to work out exactly what it is we shall say.
London Riots Devised Piece (11)
04/11/15
Today we developed our MP speeches scene. We decided that each of us would say a random section of our monologue. This was so that the audience got an understanding of each party's view without having to listen to seven long monologues. Each person says only one part of their monologue once, apart from Toby, who says about three or four different sections. This is because his monologue is very random and adds a sense of confusion to the scene, which is realistic to the confusing situation at that time. The section of monologue I have chosen is the following:
05/11/15
This lesson we polished our MP scene. We created our lighting design and then set up the lights, taping the wires down too. This was essential so that we obliged the health and safety regulations. If we didn't tape the wires down, there would be a tripping risk and people could fall over and injure themselves. This could also knock the lights over and out of place and could damage them. We then rehearsed the scene with our lighting. As we step forward to do our mini speech the lighting colour changes to whatever party we are from (so as my MP character is conservative I have a blue wash when I speak, whilst Rhiannon has green as she is green party, Ashley has purple as he is UKIP, and so on).
09/11/15
Today we did our first complete full run through. Our lighting was very effective and the music and sound worked well to create the appropriate atmosphere. What we need to work on as a group are our transitions (to make the piece seamless) and the opening scene (as we weren't sure on the timing of our freeze frames). The other thing that we need to work on is the final scene (il Manors reprise) as we have to embody gorillas whilst arguing like politician. We were finding this difficult as our body language is completely opposite (and very demanding) to our voices. Therefore we will have to keep working on this so we feel more comfortable.
Today we developed our MP speeches scene. We decided that each of us would say a random section of our monologue. This was so that the audience got an understanding of each party's view without having to listen to seven long monologues. Each person says only one part of their monologue once, apart from Toby, who says about three or four different sections. This is because his monologue is very random and adds a sense of confusion to the scene, which is realistic to the confusing situation at that time. The section of monologue I have chosen is the following:
"The last five days have been a dark time for everybody who cares about their community and their country. Destroyed homes, ruined livelihoods, taken lives... all due to the violence, arson and looting we have witnessed across several of our towns and cities. As long as we wish to call ourselves a civilised society, such disorder has no place in Britain."
05/11/15
This lesson we polished our MP scene. We created our lighting design and then set up the lights, taping the wires down too. This was essential so that we obliged the health and safety regulations. If we didn't tape the wires down, there would be a tripping risk and people could fall over and injure themselves. This could also knock the lights over and out of place and could damage them. We then rehearsed the scene with our lighting. As we step forward to do our mini speech the lighting colour changes to whatever party we are from (so as my MP character is conservative I have a blue wash when I speak, whilst Rhiannon has green as she is green party, Ashley has purple as he is UKIP, and so on).
09/11/15
Today we did our first complete full run through. Our lighting was very effective and the music and sound worked well to create the appropriate atmosphere. What we need to work on as a group are our transitions (to make the piece seamless) and the opening scene (as we weren't sure on the timing of our freeze frames). The other thing that we need to work on is the final scene (il Manors reprise) as we have to embody gorillas whilst arguing like politician. We were finding this difficult as our body language is completely opposite (and very demanding) to our voices. Therefore we will have to keep working on this so we feel more comfortable.
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