12/11/15
Today was interesting...
We began this rehearsal by discussing what we needed to work on. One aspect of our performance we needed to work on was transitions. Another area for improvement was our confidence with the whole piece but mainly the first scene and its timing. Therefore we decided that we would do a full run through and stop at the transitions we were unsure on. However, during our opening scene there was an accident...
As Lewis fell down the stairs (intentionally as this WAS part of the performance) he fell differently and landed on my foot. Although it was obviously unintentional, this incident was a result of a lapse in concentration. Lewis was focusing on his fall and making it look realistic that he wasn't aware of his surroundings. Unfortunately, the rehearsal had to be paused as I had to go to A&E. I had an X-ray and found out I had broken my little toe. It was then cleaned and strapped up. I have been told that it will take two to three weeks for the bone to heal. There was also a lot of blood as my toe had also split open underneath (due to the pressure - a little bit like squashing a grape!).
Whenever I get an injury I always carry on if I can, however I could definitely not carry on with this run-through. Thankfully this was not our actual performance of the piece. If this was a live performance, there would be no way that I would be able to continue, so the piece would have had to be stopped. If the performance was the next day, I still would not have been able to do it, but they could have altered the piece to still make it work (basically, someone take my notes and perform the interview scene with Toby, and someone could watch the rehearsal video of the "emotional turmoil" scene to learn mine and Tom's duet).
As I am out of action for a little while, I shall keep my foot elevated as to decrease the healing time. Although I cannot walk or do any movements, I shall take part in the run-through by performing my spoken scenes sitting down.
17/11/15
In this lesson we did a full walk through of our piece (although I was having to sit out, I still read my lines). We have now really improved our transitions, making our piece flow a lot better. We did this by having a top-tail run, so we did the beginning and end of every scene, so we focused on our transitions. By doing the start and end of each scene too, we got a clearer picture of when these transitions happen and in what order they are. We also decided what we are doing for costumes. The boys shall be wearing tracksuit bottoms, whilst Rhiannon and I will wear leggings. We shall all wear hoodies with a shirt and tie or blouse underneath. The hoodies will remain on for the entire piece until our transition from the consequences scene into the MP speech scene, when we shall remove the hoodies whilst walking backwards during the blackout. The hoodies will be thrown to the side.
Thursday, 12 November 2015
Storytelling (8) (Greek Myths)
Today we performed our version of the Greek myth "Perseus and Medusa". Before we performed this we had to script the narration. We decided to set our piece in a museum, so the narrator would be a tour guide, whilst the audience were visitors to the museum exhibition. As our target age group was 10 year olds, we made sure that the script wasn't too gory and didn't have language that was too complicated for them to understand. Lewis was the tour guide, so to avoid Charlie and I just standing there watching the stop-motion video, we decided to be statues in the museum. Our first position was of Perseus and his mother. When the narration described a different part of the story containing different characters, Charlie and I changed to a different freeze frame. In total we did four different freeze frames. We tried to make our transitions as smooth as possible; we even used the Frantic Assembly technique of round-by-through for two of them.
Tuesday, 10 November 2015
The Flint Street Nativity - Play, by Tim Firth (10) (Script work)
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.
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.
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.
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