Ideas contributed to performances
Costume(Tempest) - I contributed many ideas into mine and Holly's costume such as possibly using bright coloured contact lenses. Although we were unable to get these, I feel these would add to the spiritual, mesmerising qualities of Ariel. The piercing eyes could also portray the character's darker, more sinister side. I bought a black and white crop top, white for myself and black for Holly. Although they are layered with autumn leaves, the white portrays my character as calmer and more delicate. Whereas the black shade for Holly contrasts and shows the more erratic, devilish nature of the Ariel puppet. As we couldn't use this idea, it sparked us to rely even more on our movement, body language and vocals to reflect our magical essence.
Set(Tempest) - I contributed to the building of the set by collecting trees/branches/logs/rocks for our tree which was the main piece of staging which is fixed to the back of the stage. Also, by everyone helping to build the many stage blocks we were finishing these tasks much faster than if only a few people helped. We needed just enough branches and leaves to cover mine and Holly's characters that often hide in the tree, as Ariel is imprisoned there. I also took part in listing certain set items and quantities so we ensured we had brought everything to the specific site.
Acting/lines(Tempest/Shoreham) - I helped other people struggling to learn their lines and by working together we picked them up easier. For example as me and Holly are the same character, many of our lines would follow after each other's so we would spend time going over sections and practised keeping up the pace. We also went through our scenes with Izzy as our characters' relationship was significant, therefore we needed to represent the ups and downs in the bond and interactions.
Shaping content and structure of the work
Music - Our use of unique (to a Shakespeare play) modern music fitted in well with our version of the Tempest. I worked on many of the songs by finding and developing harmonies for the group and duo songs, to build a more wholesome sound that could project through the audience.
Ariels - To keep a continuous pace with little stillness/fixed positions, and as mine and Holly's characters often hover on stage through long scenes, by constantly weaving in out and around the space whilst maintaining our graceful, airy dynamics. In the "three men of sin" climatic scene, we worked on how to dramatically switch the mood of Ariel from who was calm and collected, to a burst of evil that passes through downstage to the other characters we are inflicting. Standing above in the tree looking down on the other characters expressed our power and possession over the land.
Focusing largely on our need of projection and delivery, I ensured I was always performing very openly, in preparation for BOAT.
Making most of the creative and artistic possibilities fully
By adapting our performance to both the space used in BOAT and Shoreham, it challenged us into thinking and finding new opportunities for the space provided. In the ampitheatre, we had more opportunities for different entrances/exits, including travelling through the audience, fully immersing them into the experience. I found the breezy weather in the performance complimented the Ariel costumes as the light blue chiffon fabric blew around us in the wind.
Thursday, 25 May 2017
Physical Theatre questions
How have you used physical theatre skills in ANY performance that you have done this year(use of voice/movement/facial expression gestures//interaction with other characters) to explore text for performance?
Media piece
With the use of voice, we synced our dialogue from the Malcolm X quote with gestures we performed to reflect the key words. For example, for "And that is power", we stamped our feet once together and looked sharply ahead on the word "power", to emphasise the keyword and demonstrate the tension in it, and how it carries through the piece.
With movement phrases and motifs, we wanted to show the act of passing secrets around and how easily they spread despite knowing of their factuality. A gesture that is seen throughout the piece is when someone bends towards another and with both hands, whispers into their ear. In one motif there is a knock-on effect where the gesture is repeated down a line of people.
For facial expressions, our faces remained serious in all sections of the dance. I think this takes away from any emotions that could be present, to symbolise how conditioned people are into thinking and acting a certain way.
Reappearing gestures include covering the mouth and the "shh" gesture where one finger is on the lips. These again reinforce keeping secrets. We used a lot of interaction between each other such as when we drag more and more people into the space, and repeat a certain motif over and over whilst the amount of dancers increase. This is performed in unison. This shows the build up of population being controlled.
WWRY
The movement in Seven Seas Of Rye's dynamics are rough and erratic, such as when we enter the stage running and jumping in random directions. This is also seen when we are performing motifs in unison, they are messy to show the confusion and chaos of the scene. With facial expressions, the characters go from being scared, panicking and trying to escape, to becoming brainwashed and conditioned which leads to woozy and loose dynamics. This can link to the media piece in the sense that the population that was once filled with a variety of opinions and individuality, all get manipulated and controlled by the highest power. Our gestures involve reaching and grasping in various directions, to suggest the characters are desperate to escape and find help as they are dragged into the seven seas. The interactions between other characters in duos which involve lifts, rolls, dodges and ducks show that they're fighting even with each other to stay awake and aware (in the sense that their mind is being taken over).
In Another One Bites the Dust, our facial expressions are 'expressionless', to portray the yuppies as nothing more than machines designed to protect and serve Killer Queen. The interaction involves the yuppies supporting killer queen, performing for her to make her look as significant as possible. For example, in the song 'Killer Queen', the dance involves gestures that represent words and sentences in the lyrics. E.g "Caviar and cigarettes", the dancers perform a gesture of smoking and feeding. This is all done in unison which exhibits their clone-like quality.
What were your ideas from reading the text or script or lines?
Media
Using the Malcolm X quote describing the ways of the media, I got ideas of a piece that shows gradual manipulation and control over the population, which can be shown through a descension from high levels to low levels, combined with a mix of different dynamics to show a difference of opinions and perspective,s which slowly diminish into performing similar movement.
WWRY
Physical theatre for the yuppies, I thought they should be robotic, with no facial expression whilst the gagas have 'fixed smiles' (from script - director). This highlights how they are programmed to be happy to represent the Globalsoft community as the best place ever.
How did you explore the text/script/lines
Media
I separated the lines of the quote and made suggestions on how to interpret this into physical theatre. The first sentence about the media describes it as "the most powerful entity on earth". This suggests the significance in the power, control and impact the media has on others, that they are on top of the hierarchy. I thought of possibly linking this to roles of a puppet and the puppeteer, manipulating the movements.
"they control the minds of the masses". From this I had an idea of creating a motif which shows a build up of performers in the space mimicking each others' movement in synchronisation
WWRY
In 'It's A Kind Of Magic', the chorus line which is the title, I thought of the action of spinning around with jazz hands, which gives off a sparkly, 'magical' effect. In 'Killer Queen', the lyrics "gunpowder, gelatine" we stretch up wide reaching above to reflect an explosion of gunpowder, to waving down our bodies to the floor to reflect the motion of gelatine.
How have you developed your role/character? What were your ideas?
For my character as Scaramouche, I developed her in 2 different stages. In the 1st stage she is insecure and isolated, so her movement was restricted and less free and held herself close. Whereas in the second stage when she transforms into a bohemian, she is dancy, energetic and bold in her movement.
How did your ideas help show the meaning of the scene or show?
My ideas for the robotic state of the yuppies in scenes that involve them, reinforces the manipulation and control, as they are used as slaves to the killer queen particularly in her songs. where the yuppies are automatically programmed to perform and react under her command.
The yuppies and gagas movements heavily contrast the style of the bohemians. This communicates the meaning of conflict between the societal norm, and deviation from that.
Evaluate the final performance/s
Media piece
I think our media piece in the dance show was 'powerful', and we communicated the message derived from the Malcolm X quote, portraying the influence and effect the media has upon the general population. All movement was performed with high yet controlled energy which matches the fast rhythmic accompaniment, to display the act of messages and secrets spreading through a crowd.
Due to a costume issue, I was slightly late onto stage, however I entered the stage walking with purpose but subtlety as Holly was performing her solo in silence. I am glad I didn't rush on as this would disturb the atmosphere of the performance.
WWRY
Seven Seas of Rye
Seven seas went really well. We all stayed in time as much as we could, and maintained the high chaotic energy throughout, to when we become entranced and slow the pace right down. We reacted well to the accompaniment and were very facially expressive, giving off the traumatic experience the bohemians were suffering to the audience.
A Kind Of Magic
issue with band synchronising Jordy and Bryleah singing. feel we needed more rehearsals to resolve this, showing there was more commitment to the process as the band are also are part of the ensemble, to help support us. All parts of performance are needed to be successful.
however we adapted to this and changed our movement timing and also recognizing if there were lyrics skipped, meaning we had to communicate with each other using subtle eye contact. as we all were on the same page, we adjusted well in the performance, and made it more free moving. The second show went better as we learned from our improvisation techniques and what now to do to be more in sync.
Another One Bites the Dust
Another one bites the dust's performance in our second show I believe was the strongest. I feel this was due to Bryleah's fully built confidence as Killer Queen, which supported us in our performance. Her interactions with us such as taunting, and diverting her anger to us yuppies at times instead of Khashoggi, involved us more with her, testing our acting skills in maintaining characterisation of the robot-type being of the yuppies. The dance phrase was well time and we weaved in and out of each other well at the end, using the entire space. We also adjusted to the smaller sizing of the space and certain positions that restricted some audience views.
Media piece
With the use of voice, we synced our dialogue from the Malcolm X quote with gestures we performed to reflect the key words. For example, for "And that is power", we stamped our feet once together and looked sharply ahead on the word "power", to emphasise the keyword and demonstrate the tension in it, and how it carries through the piece.
With movement phrases and motifs, we wanted to show the act of passing secrets around and how easily they spread despite knowing of their factuality. A gesture that is seen throughout the piece is when someone bends towards another and with both hands, whispers into their ear. In one motif there is a knock-on effect where the gesture is repeated down a line of people.
For facial expressions, our faces remained serious in all sections of the dance. I think this takes away from any emotions that could be present, to symbolise how conditioned people are into thinking and acting a certain way.
Reappearing gestures include covering the mouth and the "shh" gesture where one finger is on the lips. These again reinforce keeping secrets. We used a lot of interaction between each other such as when we drag more and more people into the space, and repeat a certain motif over and over whilst the amount of dancers increase. This is performed in unison. This shows the build up of population being controlled.
The movement in Seven Seas Of Rye's dynamics are rough and erratic, such as when we enter the stage running and jumping in random directions. This is also seen when we are performing motifs in unison, they are messy to show the confusion and chaos of the scene. With facial expressions, the characters go from being scared, panicking and trying to escape, to becoming brainwashed and conditioned which leads to woozy and loose dynamics. This can link to the media piece in the sense that the population that was once filled with a variety of opinions and individuality, all get manipulated and controlled by the highest power. Our gestures involve reaching and grasping in various directions, to suggest the characters are desperate to escape and find help as they are dragged into the seven seas. The interactions between other characters in duos which involve lifts, rolls, dodges and ducks show that they're fighting even with each other to stay awake and aware (in the sense that their mind is being taken over).
In Another One Bites the Dust, our facial expressions are 'expressionless', to portray the yuppies as nothing more than machines designed to protect and serve Killer Queen. The interaction involves the yuppies supporting killer queen, performing for her to make her look as significant as possible. For example, in the song 'Killer Queen', the dance involves gestures that represent words and sentences in the lyrics. E.g "Caviar and cigarettes", the dancers perform a gesture of smoking and feeding. This is all done in unison which exhibits their clone-like quality.
What were your ideas from reading the text or script or lines?
Media
Using the Malcolm X quote describing the ways of the media, I got ideas of a piece that shows gradual manipulation and control over the population, which can be shown through a descension from high levels to low levels, combined with a mix of different dynamics to show a difference of opinions and perspective,s which slowly diminish into performing similar movement.
WWRY
Physical theatre for the yuppies, I thought they should be robotic, with no facial expression whilst the gagas have 'fixed smiles' (from script - director). This highlights how they are programmed to be happy to represent the Globalsoft community as the best place ever.
How did you explore the text/script/lines
Media
I separated the lines of the quote and made suggestions on how to interpret this into physical theatre. The first sentence about the media describes it as "the most powerful entity on earth". This suggests the significance in the power, control and impact the media has on others, that they are on top of the hierarchy. I thought of possibly linking this to roles of a puppet and the puppeteer, manipulating the movements.
"they control the minds of the masses". From this I had an idea of creating a motif which shows a build up of performers in the space mimicking each others' movement in synchronisation
WWRY
In 'It's A Kind Of Magic', the chorus line which is the title, I thought of the action of spinning around with jazz hands, which gives off a sparkly, 'magical' effect. In 'Killer Queen', the lyrics "gunpowder, gelatine" we stretch up wide reaching above to reflect an explosion of gunpowder, to waving down our bodies to the floor to reflect the motion of gelatine.
How have you developed your role/character? What were your ideas?
For my character as Scaramouche, I developed her in 2 different stages. In the 1st stage she is insecure and isolated, so her movement was restricted and less free and held herself close. Whereas in the second stage when she transforms into a bohemian, she is dancy, energetic and bold in her movement.
How did your ideas help show the meaning of the scene or show?
My ideas for the robotic state of the yuppies in scenes that involve them, reinforces the manipulation and control, as they are used as slaves to the killer queen particularly in her songs. where the yuppies are automatically programmed to perform and react under her command.
The yuppies and gagas movements heavily contrast the style of the bohemians. This communicates the meaning of conflict between the societal norm, and deviation from that.
Evaluate the final performance/s
Media piece
I think our media piece in the dance show was 'powerful', and we communicated the message derived from the Malcolm X quote, portraying the influence and effect the media has upon the general population. All movement was performed with high yet controlled energy which matches the fast rhythmic accompaniment, to display the act of messages and secrets spreading through a crowd.
Due to a costume issue, I was slightly late onto stage, however I entered the stage walking with purpose but subtlety as Holly was performing her solo in silence. I am glad I didn't rush on as this would disturb the atmosphere of the performance.
WWRY
Seven Seas of Rye
Seven seas went really well. We all stayed in time as much as we could, and maintained the high chaotic energy throughout, to when we become entranced and slow the pace right down. We reacted well to the accompaniment and were very facially expressive, giving off the traumatic experience the bohemians were suffering to the audience.
A Kind Of Magic
issue with band synchronising Jordy and Bryleah singing. feel we needed more rehearsals to resolve this, showing there was more commitment to the process as the band are also are part of the ensemble, to help support us. All parts of performance are needed to be successful.
however we adapted to this and changed our movement timing and also recognizing if there were lyrics skipped, meaning we had to communicate with each other using subtle eye contact. as we all were on the same page, we adjusted well in the performance, and made it more free moving. The second show went better as we learned from our improvisation techniques and what now to do to be more in sync.
Another One Bites the Dust
Another one bites the dust's performance in our second show I believe was the strongest. I feel this was due to Bryleah's fully built confidence as Killer Queen, which supported us in our performance. Her interactions with us such as taunting, and diverting her anger to us yuppies at times instead of Khashoggi, involved us more with her, testing our acting skills in maintaining characterisation of the robot-type being of the yuppies. The dance phrase was well time and we weaved in and out of each other well at the end, using the entire space. We also adjusted to the smaller sizing of the space and certain positions that restricted some audience views.
Show 1
https://www.youtube.com/watch?v=RJ-mkeQd91o PART 1
https://www.youtube.com/watch?v=trEuiK6GaFU&t=2020s PART 2
Show 2
https://www.youtube.com/watch?v=6eV9ltco9eg PART 1
https://www.youtube.com/watch?v=TXp-TVGzx0U PART 2
https://www.youtube.com/watch?v=3V01izqbJ9U PART 3
https://www.youtube.com/watch?v=dKuaxndjx9I&t=804s PART 4
https://www.youtube.com/watch?v=RJ-mkeQd91o PART 1
https://www.youtube.com/watch?v=trEuiK6GaFU&t=2020s PART 2
Show 2
https://www.youtube.com/watch?v=6eV9ltco9eg PART 1
https://www.youtube.com/watch?v=TXp-TVGzx0U PART 2
https://www.youtube.com/watch?v=3V01izqbJ9U PART 3
https://www.youtube.com/watch?v=dKuaxndjx9I&t=804s PART 4
Tuesday, 23 May 2017
Conditions and restrictions GC2
B*O*A*T
With no artistic director and no aristic policy, the theatre is a democratic space. It offers itself to all scale companies of different experience. Event licensing means performances will finish before 10PM.
Licensing of the play
Possible risks at BOAT
Staging/seating levels: The difference of levels can be a trip hazard and can cause injury. For example the trench area is slightly hidden and be fell into. Rehearsals and familiarising with the stage style will reduce this risk
Weather conditions: If it rains, the turf can become very slippery which is a danger for mainly the performers. Preparing how we would adapt certain scenes such as in the beginning when we perform the dramatic shipwreck, will reduce the chance of injury.
Wild life : It is important that we respect our natural surroundings and do not disturb/harm wildlife that could be nearby. For example when building our set, we only took broken branches/wood that was detatched so we would not interfere with the habitats. We also found a hedgehog in the trench of the stage, that was carefully removed before it possibly got harmed or frightened.
Disturbances outside performance space: As the BOAT is a public space, it means you can often expect encounters from passers-by, dog walkers/dogs etc. We need to be respectful as well as be aware, as if we are using vehicles for example, we need to carefully observe around the space.
Shoreham Shakespeare Festival
As the shoreham festival is voluntary and an open event as it is set in public space (public paths/streets), it is free to take part as well as for audience. This avoids any costs/licensing, making it an advantage to promoting our show for the Fringe Festival free of charge.
Brighton Fringe Festival
The festival accepts all productions big and small, new and established. To be involved, their is a registration fee in order to showcase your event. You will also rent out your chosen venue to hold the performance at (in our case, BOAT). The fringe also offers to sell and advertise the tickets (minimum 30% of tickets) online, over the phone etc. with a commission rate of 6.5%
Costs that will need to be considered for taking part is:
- Production costs
- Venue hire
- Travel
- Marketing
- Registration fee
- Licenses
- Comission
Here is 2 extracts from the 'Conditions Of Hire' for the BOAT. It is thorough and clear, stating all of the rules which are fair and understandable
Below is an email from Anne Marie requesting required documents and information such as the PLI, and likely ticket numbers so that the Fringe can help in advertisement.
A2 Dance exam
This is my piece performed for my A2 Solo exam. IT is a dance from Love Stories Prologue to the song 'If It's Magic' by Stevie Wonder.
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