Monday, 7 November 2016

AAS (22) - PP&T - Individual research



  The video on the left is a trailer for the West End version of the play. It has  
  two clips of our scene in it.





I found the video on the left extremely interesting. If we were doing a larger section of the script, then I would love to do a similar activity to the group therapy they did. I liked how you could see a range of different actors responses to their research project.





I found the video on the left extremely useful. I particularly liked the last part of the interview where Denise says about glazing her eyes over and acting as if she's high but trying to pretend she's sober at the same time.

AAS (21) - PP&T - Character work

To begin this lesson, we went through the plot and style of the play with Hope, as she didn't go on the trip with us all to see it. We explained what her character was like and how she would need to deliver her lines. We then went through all the blocking together and then ran the scene a couple of times. Nearer the end of this lesson, we did some group character research and development. We wrote down what we knew about each character from the script of our scene and by watching the play, and also what we thought each of our characters thought about each character:

Emma:
  • FACTS:
    Complicated character and very confused   //   Wants to work   //   Used to be an actress   //   Needs help. Knows she needs help but doesn't want to admit it    //   Depedend on drugs and alcohol   //   Uses many names: Nina, Emma, Sarah. Real name is Lucy   //   Parents unfair or just had enough / can't cope anymore?
  • PAUL (what Lewis thinks Paul thinks):
    Afraid to reach to God   //   Coward   //   "Another one"
  • FOSTER (what Ollie thinks Foster thinks):
    Has to follow procedures with her   //   Does care for her but knows he has to keep his distance
  • DOCTOR (what Hope thinks Doctor thinks):
    Trying to be confidential   //   Can't understand Emma   //   Always trying to escape reality   //   Poser
Paul:
  • FACTS:
    Mentally unstable   //   Possibly schizophrenic   //   Gay   //   Partner of 18 years dies due to heroin over-dose
  • EMMA (what I think Emma thinks):
    Needs help   //   Unusual   //   Might have point as he seems passionate, but wasn't really listening
  • FOSTER (what Ollie thinks Foster thinks):
    Empathetic   //   Needs help, and wants him to do well
  • DOCTOR (what Hope thinks DOCTOR thinks):
    Problematic patient   //   Very loud   //   Clever
Foster:
  • FACTS:
    Works at the institution   //   Nothing surprises him
  • EMMA (what I think Emma thinks):
    Angered that he took the cigarette   //   He's going to help, not hurt
  • DOCTOR (what Hope thinks Doctor thinks):
    Good listener   //   Middle man   //   Free spirit   //   Best patient I've had
Doctor: 
  • FACTS:
    Works at the institution   //   Nothing surprises her   //   Confident
  • EMMA (what I think Emma thinks):
    Confusing   //   Doesn't know how to act around her   //   Looks like my mum
  • PAUL (what Lewis thinks Paul thinks):
    Unfair   //   Soulless
  • FOSTER (what Ollie thinks Foster thinks):
    Saviour   //   Boss / friend

Sunday, 6 November 2016

Auditions (17) - Classic monologue

Today we worked on our classic monologues. I attempted the monologue spoken by Emila in "Othello". I was told that I performed the monologue okay but I should get one that is ore "gutsy". As this monologue is basically just a chat, it is a little bit bland. Therefore I won't be using this monologue and shall find another. I was recommended "King Lear", "Merchant of Venice" and "Much Ado About Nothing".

Potential monologues:
  • King Lear -- Goneril -- "By day and night...".
    http://www.shakespeare-monologues.org/women/plays/32I like this monologue because the character that speaks it seems quite gutsy. This monologue also allows me to show a range of different emotions.
  • Merchant of Venice -- Portia -- "Away then!"
    http://www.shakespeare-monologues.org/women/plays/5I don't completely understand all of the monologue, but it looks really interesting due to the potential range of emotions and the questions at the end.
  • Merchant of Venice -- Portia -- "I pray you, tarry..."
    http://www.shakespeare-monologues.org/women/plays/5I really like the beginning of this monologue as it is quite captivating.
I have decided that I shall use the "By day and night" monologue for next lesson. I am not certain that I shall use this monologue, but I definitely prefer it to my "Othello" monologue as I can get my teeth into it.

Friday, 4 November 2016

AAS (20) - "People, Places & Things"

In this lesson we were told that we were going to be split in to smaller groups to work on our chosen acting styles on more detail. Although we will have our main chosen acting styles, we may be involved in other people's pieces as well. Ollie Kelly, Lewis, Hope and I have been grouped together and will be working on a section from the play "People, Places and Things". We saw this play earlier this year in the West End. It is performed in an Artaud style, due to techniques such as disorientating the audience, the unusual actor-audience relationships, physical theatre, loud sound effects, and the use of the contrast between blinding lights and blackouts. However, the scenes (that weren't physical theatre) were performed in a naturalistic way. Therefore, we will be doing a lot of research and work on our characters. Hope will be playing the role of the Doctor, Ollie is Foster (a receptionist and assistant at the institution), Lewis is Paul (a patient at the institute) and I am Emma (a drug dependent actress who is checking in to the institution).

Play synopsis:
The play follows the story of Nina... or Emma... or Sarah ... or whatever she is choosing to call herself at the time (actually Lucy). She used to be an actress but is heavily dependent on drugs so is going into rehab. As an audience member we feel for her as we watch her struggle through this journey - from going cold turkey, having relapses and multiple black outs to her graduation day from the institution. We watch her meet various people such as Foster, the "group", a Doctor and the group leader. Both the Doctor and the group leader remind Emma of her mum (both roles are played by the same actress who plays the mother in the final scene).

Scene synopsis:
The scene we have been given is very near the beginning of the play. Prior to this scene, Emma has had a conversation on the phone, full of expletives, to who turns out to be her mother. In this scene, Emma gets checked in to the institution by Foster, whilst Paul Waverly is high, shouting what he is experiencing and what he believes - very little, if any, of his shouting makes sense. Emma is consulted by the Doctor whilst the nurses do tests on her. She black outs a couple of times during this scene. She is high and drunk and has taken many many drugs in the past 24 hours. She is confused and difficult. The Doctor and Foster are very calm, despite her shocking responses, and deal with her in a calm and efficient manner. The dialogue in this scene is funny for the audience - due to Emma's unpredictable responses - but not for Emma, Foster or the Doctor. Emma is being very open about what she has taken, and the Doctor and Foster are very calm as (we presume) have seen everything before so aren't shocked by anything anyone could say or do.

In the lesson:
  • Unfortunately, Hope was absent this lesson, so Miss Cordel stood in for her. We began by reading through the scene to get a strong understanding on what is going on before attempting to stage it. We realised that there are a couple of nurses in this scene, so Ollie M and Katya shall play these roles. We first looked at the dialogue and realised that it is comical in a dark way - but it should only be comical to the audience and not the characters involved. To achieve this, we have to be very serious with our lines - we don't have to bring the comedy out in how we deliver them, but by simply saying them in a truthful way. 
  • In terms of blocking, we wanted to change our set every time that I blacked out. We begin with a comfy chair down stage right, which I sit on, and a table centre stage, which we use as the reception. The action with Lewis and the nurses happens on and around the table, and Lewis leaves in a wheelchair, unconscious, having been knocked out by an injection given to him by the nurses. To show my character has blacked out, we will have a literal blackout. In this, the nurses will take my phone, coat and shoes and change me into a "pale blue medical gown"; meanwhile the table will move to stage right and be positioned on an angle, and another table is brought on to stage left to become the Doctor's table. On my final blackout in this scene, all set is cleared, and the action takes place centre stage on the floor. 
  • We also went through where we wanted characters positioned in relation to each other - for example, when Emma is about to leave, Foster needs to walk back a little bit as not to pressure her, but carry on with what he is saying.
Next lesson:
Next lesson we shall let Hope know what she missed and begin working on our characters and making decisions on each of them.

Musical Theatre (13) - Back in the Gallery Theatre

For this lesson, we were back in our normal room of the Gallery Theatre. We began this lesson with a quick vocal warm up as normal and then moved on to "La Vie Boheme". We spent a long time on this as we knew that last lesson it was really lacking energy and was quite weak. Therefore, we added a lot of movement in to the piece. However, whilst adding movement, we had to keep in mind that the characters supposedly sing this in the restaurant spontaneously. Therefore, all movement had to look spontaneous so we said roughly what we wanted to do, but left it up to each individual to do it in their own way (for example, we wanted people to move over to other people and interact with other people, however, we left it up to each person to decide how they will move and who they will interact with and how).

After "La Vie Boheme", we did "Santa Fe" again to ensure that we remembered our harmonies and the vocals were all okay. As we haven't done it for ages, we all sang through "Rent". We didn't bother staging it as we didn't know what our teacher would like us to do, so we just focused on getting the vocals right. Cameron and I also ran through "Tango: Maureen". We remembered all of our lyrics, but due to it being the wrong backing track, the dance itself wasn't brilliant as we kept getting lost. However, this won't be a problem once we have cut the backing track and begin working with the right one. This is one of the pieces that we shall keep running to improve our stamina and our ability to sing and dance at the same time.

Next lesson we shall perform "La Vie Boheme" to Mr Webb and Mr McKay to see if they are happy with the movement we have added. We shall also continue to work on our projection and energy in other numbers. Hopefully, we shall also stage the title number, "Rent".

Thursday, 3 November 2016

Auditions (16) - Finding Contrasting Monologues

For our contrasting monologues, we have to have one classic monologue and one contemporary monologue.

Classic monologues:
The monologue I shall use for my classic monologue is Emilia's monologue from "Othello". I have already done a lot of research on this monologue on previous blog posts - http://lornaclarkra.blogspot.co.uk/2016/09/auditions-5-monologue-research.html. I can connect with this monologue because, although I am not the character's age, I share similar views to her - as I believe that men and women should be treated equally.

Contemporary monologue:
Below are the monologues I considered for my first monologue which I could potentially use as my contrasting contemporary monologue:
  • One man two guvnors
    • I have decided against this monologue as it is very similar to my classic monologue in terms of the character's views on men and the general feel of monologue.
  • Power of the dog
    • I like this monologue because it is comedic and the character is my age. It would also be quite funny to do alongside a classic monologue, as the character (Lisa) is moaning about a classic play she had just seen ("Midsummer Night's Dream"). However, there isn't much room for emotional development in this monologue, thus making the monologues quite similar.
  • William Shatner man crush
    • I have decided against this monologue as although it does form a contrast to my classic monologue, I can't really connect to the monologue at all. The monologue is comedic and the character is about my age, but I don't have anything in common with the character and so don't think I would be able to play the character convincingly.
  • Why is John Lennon Wearing a Skirt?
    • Although I really like this monologue and could connect with it, yet again, I think it is far too similar to my classic monologue as it also focusses on the difference between men and women. 
  • A Doll's House
    • This monologue forms a massive contrast to the classic monologue. It is contrasting because the emotions vary throughout, it is very serious and the emotions are contrasting in themselves to the "Othello" monologue. In this monologue, the character (Nora) is leaving her husband (which was not the done thing when the play was set). However, I don't think this monologue counts as contemporary as it premiered in 1879. If I did count then this would be one of my preferred monologues.
I have found another monologue this evening that is contemporary, comical and contrasting compared to my classic monologue. This monologue is called "It's Terrible Being Nice" and is from the play "Goodbye Charles" by Gabriel Davis. In this monologue, the character (Jill) is asking her partner not to marry her because since being with him she has been made "nice" and she wants to go back to being "a bitch". A short synopsis of the play is found on the following website: https://www.coursehero.com/file/9580445/Play-Reflection/. To summarise further, the play is basically a broken up conversation between friends Barb and Jill about their partners, David and Charles.

For next lesson, all we had to do was find two monologues we were thinking of doing and be vaguely familiar with them. I will bring my "Othello" monologue and the monologue from "Goodbye Charles".

Musical Theatre (12) - On the stage

We now have Henri back so we went to the hall and ran through some numbers. We started with "Seasons of Love" to ensure that Henri remembered it all. The purpose of doing it on the stage was to work on our spacing. This song actually went quite well, bearing in mind we hadn't done this piece with Henri for ages. The only thing we needed to sort vocally was mine and Henri's duet section - we had to agree on how many dips we would do before coming down off of the note. The only other thing that needed adjusting was our placing on the line - we were off-centre so we all needed to shift to the left slightly.

Afterwards, we ran "La Vie Boheme". The first time we did this, it was lacking in energy, and people still don't know all of the words. Moreover, the sound was being lost as we weren't all projecting enough. The second time we did it was a lot stronger but it is still not where it needs to be in terms of energy. Before next lesson, we shall add in bits of movement just to ensure we have things to do as this will hopefully bring more energy in to the piece.

We also ran "Santa Fe". Originally, Henri, Lewis, Cameron and Owen sang centre stage, and Tyler, Warren and I would enter and stand with them when we joined in with the vocals. However, this felt and looked a little bit awkward. To rectify this, Tyler, Warren and I sit DSR throughout this piece. When not singing at the beginning we mime a conversation, and then join in with our part at the right time. This not only felt better but it made the piece more interesting to look at due to the levels and depth added.

To end this rehearsal, Henri and Taylor performed "Light My Candle". This piece looked really good as they remembered their movement, but the vocals didn't come across very strong. This was due to being in a larger performance space. Therefore, they did it again and had to really project on the second time by using their diaphragms more and increasing their volume. They also brought all of the movement further forward so that the sound was not being lost and dampened by the stage.