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.
7th October - media piece
Today we continued developing movement for our Media piece
We repeated my solo in unison and also added a section where we are passing on messages through each other. This shows how the manipulative media can spread throughout the population
We have good timing at the beginning and could improve but carrying it through the parts with the fast paced rhythm under. We could also use more facial expressions in our movement over the movement, however in the beginning dialogue, our straight-faced powerful standing positions help us highlight the quote being spoke.
30th September - media piece
Today we devised movement and created a motif based off a quote I found by human rights activist Malcolm X :
With Holly, we created a short duet using inspirations from the music video Big Girls Cry and Elastic Heart, where the dancer Maddie Ziegler includes many gestures which can portray feeling trapped, and the feeling of being watched, i.e when she lifts her eyelid for a wide eyed expression. She also shows the emotions of frustration and breaking down, for example when she levels to the ground and crawls showing loss of control.
We had strong dynamics and good contact to show the controlling state
To improve, we could add more emphasis on certain actions to highlight key points and more directed movement.
In movement I independently created, I used the idea of a scale from explosive movement to becoming restrained/conformed. I used part of the quote "Because they control the minds of the masses" for this, where the community is gradually brainwashed and restricted of their freedom.
With Holly, we created a short duet using inspirations from the music video Big Girls Cry and Elastic Heart, where the dancer Maddie Ziegler includes many gestures which can portray feeling trapped, and the feeling of being watched, i.e when she lifts her eyelid for a wide eyed expression. She also shows the emotions of frustration and breaking down, for example when she levels to the ground and crawls showing loss of control.
We had strong dynamics and good contact to show the controlling state
To improve, we could add more emphasis on certain actions to highlight key points and more directed movement.
In movement I independently created, I used the idea of a scale from explosive movement to becoming restrained/conformed. I used part of the quote "Because they control the minds of the masses" for this, where the community is gradually brainwashed and restricted of their freedom.
When creating the group motif, our timing had to be necessary as the dialogue of the quote which will be spoken in the beginning, links directly to movements.
Saturday, 22 April 2017
Site Specific Presentations and Analysis GC1
Site specific analysis and companies
Research/script - Artichoke company
1
Site specific
performance initially influenced by site specific art which emerged in late
1960s - it grew interest and appeal to audiences primarily because of novelty
of form and viewing experience - original, new that is more available to
everyone
Site spec art -
form of art created to exist in certain space, working with environment and
space of location ~ wanted to take art out of unnatural, showy/flashy galleries
to outdoor and indoor venues
As performance grew through too, ability to manipulate space however liked
- traditional theatre limited, predetermined dimensions etc. site specific only
limited by space/dimensions of site itself, more flexibility ~ field, abandoned
warehouse, difference experiences of space
2
Audience are vital element of site specific - allows them to become much more involved than possible in traditional theatres it really destroys fourth wall, and no large separation between them and performers/production. Equal importance as no hierarchy e.g ordinary citizens and elite members etc
They have their own role, not just a spectator - socially involved- energy between audience and performers
can create it - can influence direction/outcome
More intimate experience, can really envision performance -- Trace and
Flight by sirens crossing 2000 - involved performance in location of cemetery,
where 4 dancers travelled up stairways and arriving onto roof terrace with
audience following
Type of audience that accesses depends also on site location and type of site e.g Kneehigh theatre performed Hell’s Mouth in clay district of Cornwall, poor area, broader section of community
Also on finance - The Lion’s part company is free to access and financially
3
UK based
organisation Established in 2005 by Helen Marriage and Nicky Web
Charity that Work
with various artists to invade public spaces and put on larger than life events
- large scale that appeal to widest possible audience. Believe art shouldn’t be
only in theatres/galleries - streets, public places, countryside
Rely on grants,
donations and sponsors for funding events - donor scheme artichoke hearts -
rarely ticket events
Makes locations
used more appreciated, memorable from events held - fresh perspective of place
Many events
strongly linked to places in which they are produced e.g Crown Of Light in
Lumiere festival was made for Durham’s Cathedral - Lumiere involves
illuminating sites to show new fresh new appreciation
Another way
artichoke does this is setting in a different context to show new appreciation
e.g
The Sultan’s elephant in 2006 attracted one million people
The artist Royal De Luxe a European street theatre company, produced a
time travelling elephant joined by a little girl giant on a 4 day period going
around major landmarks in London
Heavy interaction between audience and performance - spraying water,
walking alongside, child swinging on arm
times in video to show:
8.40, 2.56, 7.20
Peace camp in2012 were live installations - different locations on coast
(Cornwall, Isle of Lewis, Sussex cliffs) of glowing, murmuring encampments
-coming into works at night, lots of tents that audience could walk through and
around and listen
Explored love poetry - soundscape of poems
Celebrated variety and beauty of our coastline/ - back to appreciation
Diff between
elephant and peace camp
Elephant -
performance -peace camp -- installation art
Shows variety of
projects - peace camp still involvement of audience as they are freely allowed
to enter the space and get up close and listen to the sounds produced
4
Just because
performance is put in site specific, doesn’t mean it will automatically achieve
deeper connection with audience and understanding of production
Site specific is
broad - Wrights & Sites created 3 terms = sympathetic (existing performances in
selected location), generic(generic site that can be remodelled elsewhere) ,
specific(doesn’t travel, only works for exact location or loses connection)
Site specific discussion
Site specific continued
My presentation - Artichoke
Welfare State International
Welfare state international was a company that was founded in 1968 by John Fox, Sue Jill and others. The company would put on eye-catching events mainly outdoors on a large scale. The act of taking art and theatre out of it's traditional settings and into the public was the start of a new style of expressing all arts.Welfare state gives itself to all equally. Different types of site-specific theatre was created by a variety of people from engineers and sculptors to musicians and performers. One project that was held in July 2006 was 'July Picnic'. It was held on WSI's newest venue which was an ampitheatre in the fields outside of Ulverston. Public workshops were held throughout the day, which involved making puppets, songs, drumming and body percussion.Many performances were held such as the dragon's tale and the day ended with a show of fireworks.
London Bubble Company
London Bubble Theatre Company was established in 1972, which heavily involves the community to create theatre. One of their projects 'Speech bubbles', supports children in developing their skills in communication, confidence and wellbeing. After researching into children's level of skills when entering school, statistics showed many children (as much as half) often have communication problems, whether it's through speech or language skills. Taking their sessions to many schools, these would would centre around the individual children and put them in stories, where they would switch between becoming the author of the story, characters in the story and also audience. 87% of children who participated in these sessions had improved in their learning, speaking and listening.
Punch Drunk
Beginning in 2000, Punch drunk combines classical text, performance, design installation and unique choices of location/site.The equal focus on all aspects of the production including the space, the audience, the narration and performers gives a new dynamic approach to theatre and arts. The use of deserted sites and adding a theatrical/cinematic style on it, fully immerses the audience into the experience.The audiences' freedom to roam and explore the area to discover different forms of performances displayed.
Emergency Exit Arts
Emergency Exit Arts is and organization that was founded in 1980, bringing collaborative outdoor arts to many festivals. They create site-specific and touring works, often cultural, involved with the community and interactive to the public. A past show includes 'Arena', which was and outdoor installation involving acrobatics, dancers, giant mechanical creatures, a sculptural tree and video screens. The audience were able to walk through these and observe from different perspectives in the enclosed circular space it was held.
Bodies in Urban Spaces
Created by Willi Dormer, Bodies in Urban Spaces first premiered in 2007. The company explores restricted movement possibilities, limitations and rules. The use of performers (bodies) being placed in unusual places in an often tight form, generate responses and thinking processes from passers by. The performed trail the audience to selected parts of the public, and temporarily creating a chain of intervention. This gives the public a different perspective of the space at a fast moving speed.
What do the companies have in common?
All these companies largely focus on their audiences, and making it a necessity to include them within the performances and installations.
What is different?
While some companies such as Artichoke and Punchdrunk mainly aims are to wow, interest and excite the audience into an innovative experience, other companies such as London Bubble Company also fully interact with the audience and evolve the performance around them.
Which company are you most drawn to?
I'm most drawn to Artichoke as I am fascinated how they re-introduce locations and sites with spectacular installations and performances, to shine a new light and a new appreciation for the area.
What is most surprising to the work you have discovered through research?
London Bubble in particular have really impacted the community in a useful and positive way. Such as the Speech bubble sessions, children's learning and speaking skills had improved massively.
Friday, 7 April 2017
7th April (Cunningham, Limon)
Cunningham plie exercise
Cunningham phrase with diff timings/facings
Cunningham phrase with diff facings/timings
Cunningham foot exercise
Cunningham main phrase
Limon swing phrase
Limon travelling phrase
Limon travelling phrase 2
Limon main phrase
Limon main phrase 2
Friday, 31 March 2017
31st March (Cunningham, Limon)
Cunningham
Cunningham foot exercise in parallel
Cunningham foot exercise in first
Cunningham main phrase
Cunningham main phrase slower
Cunningham main phrase w/ different facings/timings
Cunningham foot exercise second position
Cunningham plie exercise
Limon
Limon swings phrase on right side
Limon swings phrase on left side
Limon main phrase
Limon main phrase 2
Cunningham and Limon evaluations
Friday, 24 March 2017
24th March (Cunningham, Limon)
Cunningham
Cunningham main phrase 1
Cunningham main phrase 2
Cunningham main phrase 3
Limon
Limon main phrase
Limon main phrase 2
Cunningham and Limon evaluations
Friday, 10 March 2017
Tuesday, 28 February 2017
WWRY Performance Evaluation
Evaluation of highlights
ON CAST
Headlong
Went really well despite odd sound issues, but our group had a strong awareness of the rreal timings and the rhythms of the melody, to which we could identify how long certain instrumentals/breaks were in the music. this made us prepared for any alterations in the accompaniment. However it went very smoothly between transitions from sitting on the staging US to making our way DS. We had strong stage presence when singing headlong, as we were very confident in the song after much practice and dedication to working with each other. Our vibrant passion and spirit spread through the space and our individual solos all fit in well, as we'd observed each others timing which helped us learn our cues. I delivered my lines at my best, I am happy I hit the high note in "soon a fire starts a burning makes em more than half crazy", which I had been practisiing over and over. Everyone's solos were equally strong which further highlighted our group dynamics, and how our single efforts benefitted the team as a whole. Linking to the scene, it also reinforces the point in this scene, which is that Scaramouche and Galileo have just joined the bohemians, and strong connection out of nowhere can be seen as they are all alike, fellow rebels with common interests and one goal. I remember at the beginning of the song, the cue for the band to start was when my character says "Lets go!". However the band must have misheard and they played it way too early. Our ensemble managed this by continuing with our dialogue despite the starting beat, and prepared our positions first before rushing into it. This slip up demonstrated our effectiveness as an ensemble, as we have a way of communicating to each other and preparing how to react to situations like this.
Bohemian Rhapsody
Bohemian rhapsody went the much better in our final show. The lead vocals from every main character were dominant and held their own. I am happy with my vocals in this and enjoy this song as you are half broken out of your character, so I can show my natural performer side whilst keeping the essence of Scaramouche. The enthusiasm and wildness of the cast in this number spread through to the audience. I think we were more passionate in this show overall because of the audience feedback. We found we lacked in energy when our previous audience were unresponsive the majority of the time, whereas in this show they were cheering, laughing, applauding which is what's needed to boost your performance.
Somebody to love
The second show was much better than the first, mainly to do with the timing at the end of my song leading into the high notes and riffs. Me and the gaga girls discussed the counts for their lyrics and how many times they repeat them until I join in after the 1st show. So the 2nd show was much better and I kept the timing with the instruments for when to come back in. I am proud of my performance and feel I projected well to the audience, showing the innocence of my character but the hidden power within. The support of the gaga girls boosted the interaction between us as performers, as it reminds me of negative voices and comments in your head (represented by the teen queens). Communication what we can improve in the first show led onto creating an powerful 2nd show.
Pop, Scaramouche and Galileo Scenes
This scene went much better than expected. There were no hesitations throughout the long scenes and we bounced off each other well with our lines. As these scenes are particularly funny due to Jade's creativity full embodiment of her witty character Pop, me and Megan were influenced by this and we all fed off each other's energy, becoming more improvisational with our performance (lines, facial expressions etc.). I enjoyed our contrasts in characters, and how our rehearsing and planning has made the 3 fit really well. I actually enjoyed performing the scene and imagined it as a real interaction between your friends, even though I was previously worried about my cues. There was a small amount of lines that were skipped, but there was no gaps or pauses and it just transitioned into the next scene.
Overall I found in the second show I showed much more energy when performing, such as making good use of the space and engaging the audience. After discussing this with Kim, everything was boosted and I was much happier how I acted, especially with positive feedback from the audience. This encouraged everyone to sustain a high performance, and brought the ensemble closer together.
Show 1
https://www.youtube.com/watch?v=7hRaU3jY9U0&t=972s PART 1
https://www.youtube.com/watch?v=wuRzFKFCT7w&t=790s PART 2
https://www.youtube.com/watch?v=KSfEl3_5Sqw&t=7s PART 3
https://www.youtube.com/watch?v=xpkhTso7PNQ&t=78s PART 4
Show 2
https://www.youtube.com/watch?v=r_dH4C_Uo3s PART 1
https://www.youtube.com/watch?v=MN53LlXfk6s&t=1841s PART 2
https://www.youtube.com/watch?v=Flf4hlANtDk PART 3
https://www.youtube.com/watch?v=trdym2-ySJY&t=953s PART 4
OFFCAST
Seven Seas of Rye
Seven seas went 'swimmingly'. 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.
Overall our devotion willingness to giving our best despite issues to supporting our double casts' show, reflects our group relationship and respect for each other, working for others as well as ourselves.
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
ON CAST
Headlong
Went really well despite odd sound issues, but our group had a strong awareness of the rreal timings and the rhythms of the melody, to which we could identify how long certain instrumentals/breaks were in the music. this made us prepared for any alterations in the accompaniment. However it went very smoothly between transitions from sitting on the staging US to making our way DS. We had strong stage presence when singing headlong, as we were very confident in the song after much practice and dedication to working with each other. Our vibrant passion and spirit spread through the space and our individual solos all fit in well, as we'd observed each others timing which helped us learn our cues. I delivered my lines at my best, I am happy I hit the high note in "soon a fire starts a burning makes em more than half crazy", which I had been practisiing over and over. Everyone's solos were equally strong which further highlighted our group dynamics, and how our single efforts benefitted the team as a whole. Linking to the scene, it also reinforces the point in this scene, which is that Scaramouche and Galileo have just joined the bohemians, and strong connection out of nowhere can be seen as they are all alike, fellow rebels with common interests and one goal. I remember at the beginning of the song, the cue for the band to start was when my character says "Lets go!". However the band must have misheard and they played it way too early. Our ensemble managed this by continuing with our dialogue despite the starting beat, and prepared our positions first before rushing into it. This slip up demonstrated our effectiveness as an ensemble, as we have a way of communicating to each other and preparing how to react to situations like this.
Bohemian Rhapsody
Bohemian rhapsody went the much better in our final show. The lead vocals from every main character were dominant and held their own. I am happy with my vocals in this and enjoy this song as you are half broken out of your character, so I can show my natural performer side whilst keeping the essence of Scaramouche. The enthusiasm and wildness of the cast in this number spread through to the audience. I think we were more passionate in this show overall because of the audience feedback. We found we lacked in energy when our previous audience were unresponsive the majority of the time, whereas in this show they were cheering, laughing, applauding which is what's needed to boost your performance.
Somebody to love
The second show was much better than the first, mainly to do with the timing at the end of my song leading into the high notes and riffs. Me and the gaga girls discussed the counts for their lyrics and how many times they repeat them until I join in after the 1st show. So the 2nd show was much better and I kept the timing with the instruments for when to come back in. I am proud of my performance and feel I projected well to the audience, showing the innocence of my character but the hidden power within. The support of the gaga girls boosted the interaction between us as performers, as it reminds me of negative voices and comments in your head (represented by the teen queens). Communication what we can improve in the first show led onto creating an powerful 2nd show.
Pop, Scaramouche and Galileo Scenes
This scene went much better than expected. There were no hesitations throughout the long scenes and we bounced off each other well with our lines. As these scenes are particularly funny due to Jade's creativity full embodiment of her witty character Pop, me and Megan were influenced by this and we all fed off each other's energy, becoming more improvisational with our performance (lines, facial expressions etc.). I enjoyed our contrasts in characters, and how our rehearsing and planning has made the 3 fit really well. I actually enjoyed performing the scene and imagined it as a real interaction between your friends, even though I was previously worried about my cues. There was a small amount of lines that were skipped, but there was no gaps or pauses and it just transitioned into the next scene.
Overall I found in the second show I showed much more energy when performing, such as making good use of the space and engaging the audience. After discussing this with Kim, everything was boosted and I was much happier how I acted, especially with positive feedback from the audience. This encouraged everyone to sustain a high performance, and brought the ensemble closer together.
Show 1
https://www.youtube.com/watch?v=7hRaU3jY9U0&t=972s PART 1
https://www.youtube.com/watch?v=wuRzFKFCT7w&t=790s PART 2
https://www.youtube.com/watch?v=KSfEl3_5Sqw&t=7s PART 3
https://www.youtube.com/watch?v=xpkhTso7PNQ&t=78s PART 4
Show 2
https://www.youtube.com/watch?v=r_dH4C_Uo3s PART 1
https://www.youtube.com/watch?v=MN53LlXfk6s&t=1841s PART 2
https://www.youtube.com/watch?v=Flf4hlANtDk PART 3
https://www.youtube.com/watch?v=trdym2-ySJY&t=953s PART 4
Seven Seas of Rye
Seven seas went 'swimmingly'. 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.
Overall our devotion willingness to giving our best despite issues to supporting our double casts' show, reflects our group relationship and respect for each other, working for others as well as ourselves.
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
So Sing rehearsals
In rehearsals for So Sing, we practised and developed the four songs Human by Rag'n'Bone, Tears Dry on Their Own by Amy Winehouse, Ain't No Mountain High Enough and Keepin Your Head Up.
When planning, we made a list of people who would like a solo in the piece. This gives everyone a chance to contribute individually and develop themselves. We began listening and absorbing the songs where we would then use our own time to thoroughly learn the lyrics and melody.
In rehearsals, we started practising harmonies and figured about between is which harmony we would be more comfortable in or our preferred harmony (higher/lower/melody). We changed the song Rockabye to Ain't No Mountain High, a song we are more familiar with that fits better with the others, and also is more comfortable in range all round.
The lyrics to the songs could have been learned quicker by all performers, so we could all put in the right energy and feel confident performing for an effective and balanced ensemble. In a run through, people that are in the back row were not as energetic and focus as the rest of the lines, as they were behind and are not as visible. However it does show and can make the whole performance lack in enthusiasm.
In another rehearsal, we went in groups that had difficulty with the same song, where we practised over and over (my group did Keepin Your Head Up, as we didn't know the verses). This was really helpful as working together gives you and others more support and motivation to develop yourself, as opposed to you trying on your own
I had a solo in Tears Dry On Their Own, along with Emily and Holly. As I knew the song very well, I found it easy and was confident learning it. As Holly's lines followed straight after, we stood together in the front line supporting each other, and we went over our lines with Emily who wasn't as confident with the song. I also contributed by guiding the ensemble in practising the way certain lines in this song are said, as t is very distinct. Ensuring I know my part very well shows my commitment and dedication to the group, as every aspect of the performance is equally important and contributes something.
Later on in rehearsals we had to change the key in which we sing the ending lines of Tears Dry On Their Own, as it is too low and we cannot project our voices enough to the audience. We had to practise with how we can transition to the higher key in an effective way. I gave an idea of a way we should sing it and we all agreed, so we chose the same transition, making the whole song fit. The consistence in our slightly altered melody I feel gives a more solid performance
In keeping your head up, I found this most challenging due to it's high pitches through the chorus. However a lot of the time I find I am just holding back, and need to challenge myself more and believe in my potential skills. I also felt very encouraged by everyone else, and as this song is a very bubbly and lively and fun song, it's causes you to let loose more and just sing rather than being too controlled.
The ending is acapella which requires us to stay in time with each other as we cannot rely on the piano. We had troubles with going too fast, but learned to drag it out more as we concentrated harder.
With help from Kat, we improvised movements while singing the songs and just went with the flow, experimenting with gestures and foot taps etc., and then deciding on what movements we should use for each song. For example in human, we are simply steadily rocking, which creates an impact and eases you into the performance, that grows to a climax in 'keeping your head up', where we will bounce around the space clapping our hands and being direct to the audience to engage them and encourage them to join in.
Evaluation
The performance went very well. In the short space of time we had to rehearse, it shows our capability in adapting and picking things up quickly. It also demonstrates our professional attitude despite our short rehearsals. It all pulled together in our final rehearsals, giving all our energy and efforts. The performance was full of enthusiasm. I ensured I gave 100% even when I wasn't completely confident in certain areas, I didn't let that show on my face or body language.
Liv had a small blip where she stumbled and got nervous on her lines. I recognized how Izzy next to her supported her in the singing when she needed it, which is important to hold the structure of the ensemble together. We maintained high energy throughout to it's full extent in the last song. I find the louder you sing for yourself, it encourages others and spreads through the group to liven up. Our ending acapella section was effective, as we listened to each other to sustain the rhythm.
When planning, we made a list of people who would like a solo in the piece. This gives everyone a chance to contribute individually and develop themselves. We began listening and absorbing the songs where we would then use our own time to thoroughly learn the lyrics and melody.
In rehearsals, we started practising harmonies and figured about between is which harmony we would be more comfortable in or our preferred harmony (higher/lower/melody). We changed the song Rockabye to Ain't No Mountain High, a song we are more familiar with that fits better with the others, and also is more comfortable in range all round.
The lyrics to the songs could have been learned quicker by all performers, so we could all put in the right energy and feel confident performing for an effective and balanced ensemble. In a run through, people that are in the back row were not as energetic and focus as the rest of the lines, as they were behind and are not as visible. However it does show and can make the whole performance lack in enthusiasm.
In another rehearsal, we went in groups that had difficulty with the same song, where we practised over and over (my group did Keepin Your Head Up, as we didn't know the verses). This was really helpful as working together gives you and others more support and motivation to develop yourself, as opposed to you trying on your own
I had a solo in Tears Dry On Their Own, along with Emily and Holly. As I knew the song very well, I found it easy and was confident learning it. As Holly's lines followed straight after, we stood together in the front line supporting each other, and we went over our lines with Emily who wasn't as confident with the song. I also contributed by guiding the ensemble in practising the way certain lines in this song are said, as t is very distinct. Ensuring I know my part very well shows my commitment and dedication to the group, as every aspect of the performance is equally important and contributes something.
Later on in rehearsals we had to change the key in which we sing the ending lines of Tears Dry On Their Own, as it is too low and we cannot project our voices enough to the audience. We had to practise with how we can transition to the higher key in an effective way. I gave an idea of a way we should sing it and we all agreed, so we chose the same transition, making the whole song fit. The consistence in our slightly altered melody I feel gives a more solid performance
In keeping your head up, I found this most challenging due to it's high pitches through the chorus. However a lot of the time I find I am just holding back, and need to challenge myself more and believe in my potential skills. I also felt very encouraged by everyone else, and as this song is a very bubbly and lively and fun song, it's causes you to let loose more and just sing rather than being too controlled.
The ending is acapella which requires us to stay in time with each other as we cannot rely on the piano. We had troubles with going too fast, but learned to drag it out more as we concentrated harder.
With help from Kat, we improvised movements while singing the songs and just went with the flow, experimenting with gestures and foot taps etc., and then deciding on what movements we should use for each song. For example in human, we are simply steadily rocking, which creates an impact and eases you into the performance, that grows to a climax in 'keeping your head up', where we will bounce around the space clapping our hands and being direct to the audience to engage them and encourage them to join in.
Evaluation
The performance went very well. In the short space of time we had to rehearse, it shows our capability in adapting and picking things up quickly. It also demonstrates our professional attitude despite our short rehearsals. It all pulled together in our final rehearsals, giving all our energy and efforts. The performance was full of enthusiasm. I ensured I gave 100% even when I wasn't completely confident in certain areas, I didn't let that show on my face or body language.
Liv had a small blip where she stumbled and got nervous on her lines. I recognized how Izzy next to her supported her in the singing when she needed it, which is important to hold the structure of the ensemble together. We maintained high energy throughout to it's full extent in the last song. I find the louder you sing for yourself, it encourages others and spreads through the group to liven up. Our ending acapella section was effective, as we listened to each other to sustain the rhythm.
Monday, 27 February 2017
Somebody to Love rehearsing
Somebody to love is my solo/ensemble song, where my character Scaramouche is wishing to break free and find someone who loves her for her.
The ensemble consists of Scaramouche and the teen queens/gaga girls, who prior to this are taunting and mocking her. Practising this with the off cast members, we rehearsed our levels of energy by reading the script and exaggerating our reactions to each other. The teen queens are a version of a snobby group of squeaky girls. We discussed how they should enter whilst i am singing 'Break Free', where they could be catching me singing and sneak in to ridicule me. I contributed my giving ideas about how their formation can be around and above me as I am on the lower stage block. In addition, they could be clicking side to side during the song as if they are proper backing singers.
We needed to work o the timing for the last section, where all the voices build up and I belt a high note. This would be helpful to go through with piano accompaniment to compare the timing.
I need to work on parts of the song I am finding tricky as I lead the song, therefore the leader of the ensemble. I need to take control and guide my cast members so we can deliver a polished performance.
Bohemian Rhapsody
For Bohemian rhapsody, this would be by far our most challenging songs, especially the cues, patterns, harmonies and timing of the vocals and accompaniment. Songs like this needed strong commitment, determination, focus, encouragement and support to work successfully as an ensemble.
We were allocated groups that would sing a certain line or would sing a certain harmony. I was with Holly, Jade and Year 12s and we read through the lines as a group over and over. Practising the melody, I then helped with practising the higher harmony that half of us would sing. It was very high which meant I needed to warm up, and with the help of Kim's vocal exercises it made it much easier to reach the notes.
We went through the song lyrics section by section, annotating exactly when we come in, if we grow in volume and when she sing softer etc. As this song would take longer, we worked on singing certain parts of the song that were most difficult, before we attempted it in one go. Focus was really important here, as we needed to ensure we knew our parts otherwise it would let down the ensemble. No matter how big or small, all parts are significant.
Sometimes I feel I can give more creative ideas in discussions, and I want to improve this in getting my opinion heard as I usually agree. However Bo Rhap is very vocally challenging and felt a bit out of my depths.
After more rehearsals, I feel we have a tackled a lot and we are almost there in our groups. We next started blocking where our positions would be on stage. Scaramouche and Galileo would be on the stage blocks, along with Killer Queen and Khashoggi on the other side. Initially we were going to be placed in our groups in various parts of the stage, with spotlights on us. However this then separates our voices into groups that aren't that big. So, we decided to place everyone against the side of the Killer queen stage, in a levelled formation. This position also gives more stage presence, and our voices side by side will be stronger and uplifted. I believe we are strongest performing vocally when closer together.
We were allocated groups that would sing a certain line or would sing a certain harmony. I was with Holly, Jade and Year 12s and we read through the lines as a group over and over. Practising the melody, I then helped with practising the higher harmony that half of us would sing. It was very high which meant I needed to warm up, and with the help of Kim's vocal exercises it made it much easier to reach the notes.
We went through the song lyrics section by section, annotating exactly when we come in, if we grow in volume and when she sing softer etc. As this song would take longer, we worked on singing certain parts of the song that were most difficult, before we attempted it in one go. Focus was really important here, as we needed to ensure we knew our parts otherwise it would let down the ensemble. No matter how big or small, all parts are significant.
Sometimes I feel I can give more creative ideas in discussions, and I want to improve this in getting my opinion heard as I usually agree. However Bo Rhap is very vocally challenging and felt a bit out of my depths.
After more rehearsals, I feel we have a tackled a lot and we are almost there in our groups. We next started blocking where our positions would be on stage. Scaramouche and Galileo would be on the stage blocks, along with Killer Queen and Khashoggi on the other side. Initially we were going to be placed in our groups in various parts of the stage, with spotlights on us. However this then separates our voices into groups that aren't that big. So, we decided to place everyone against the side of the Killer queen stage, in a levelled formation. This position also gives more stage presence, and our voices side by side will be stronger and uplifted. I believe we are strongest performing vocally when closer together.
Friday, 17 February 2017
Organisational skills audit
Organisation skills
|
Level of competence
|
Where and how I have developed this?
|
Replying to emails
|
AMBER/GREEN
|
Sometimes I tend to put off replying to certain emails, more due to not knowing how to form the right reply depending on who it is to.
|
Time management
|
AMBER
|
I need to put free time into better use such as completing work and tasks. When I think about the amount of work I could get done in the time I waste, it makes me realise I need to be more self-disciplined.
|
Organising myself within other people
|
GREEN
|
I know how to work well with others and adapt to new people who I may have not previously worked with, and ensure I put my full effort into tasks.
|
Self discipline
|
RED
|
I do not self-discipline myself enough to ensure I stick to a schedule, and the amount of time I should be putting into my work.
|
Motivation
|
AMBER/GREEN
|
I find it hard to get the initial motivation to carry out a task/work, however when I manage to get motivated, I am able to get things done efficiently.
|
Avoiding procrastination
|
RED
|
Relating to self discipline, I need to learn to get on with completing tasks and doing work, and overcome little distractions. I often regret procrastinating so much as everything builds up and I end up with little time to do everything in.
|
Commitment
|
GREEN
|
I am very commited to projects and people who I may be working with, as I am considerate to others and how significant commitment is for being successful
|
Self awareness
|
GREEN
|
I find I am very aware of my strengths/weakness, feelings and how to cope with them. I know how to assess myself and judge my effect on others.
|
Finding solutions to problems
|
GREEN
|
I am able to find alternative routes if I am stuck and find if I think of different possible outcomes from my ideas, I can overcome my issues well.
|
Acting on solutions to problems
|
AMBER
|
Linking to procrastinating, I sometimes need to find the initial encouragement to get on with acting on solutions.
|
Prioritising
|
AMBER/GREEN
|
I tend to prioritise more on practical tasks over written, theoretical tasks. I need to create a balance to ensure I am completing both sides to tasks equally.
|
Accepting responsibility
|
GREEN
|
I am able to take responsibility for my actions, whether this is from making an error, or correctly performing an action.
|
Creating a balance
|
AMBER
|
As i mentioned in prioritising, I need to learn to create a balance between parts of my work/tasks, as well as balancing work life with social life. Overall, I need to balance by dedicating more time to my work.
|
Meeting deadlines and demands
|
AMBER
|
I need to improve this as I find it difficult to meet deadlines where I am fully completed with work or the task.
|
Keeping calendars
|
GREEN
|
I ensure I am up to date with all dates in my phone calendar, which reminds me nearer the time of them. This helps me schedule things in the future and make sure I am available for certain events
|
Social network
|
GREEN
|
I keep up to date with my social network platforms, updating regularly to keep in tune with others and interacting.
|
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