If we were allowed extra things to develop our piece such as money, time and more here is what I would do.
Focussing on if were to retrieve more money I would allow us to have more intricate set because it would be more impressive, help create more imagery like the hound dogs for example we could create puppets, like the animals within the Lion King or the Horse in War Horse, this would all be achievable because we would be able to afford the supplies we would need as well as bigger transport for there and back. Having the bigger transport actually creates numerous amounts of opportunities for the production, like props, sound systems, lights and even costumes if we wanted changes within the show.
Costumes is something I would defiantly invest in changing if I could or maybe more adapt to them, there was quite an original steampunk theme to our costumes but got lost through the process due to lack of sewing abilities and correct materials, therefore I would invest in the correct outfits, steampunk still being a very fashionable style these days there are many seamstresses who make all different outfits and accessories to size and style and colour therefore I think would really make our performance more edgy and professional looking.
I would definitely look into more cast for chorus roles, with something like magic of a theme, more people can make it effective. For example within the banquet scene we only had three ghouls over powering 5 people which was unrealistic, g=having more of them and more dramatic costumes you could make them interactive with the audience making it more lively and dynamic. Also for things like the ship wreck and mariners would allow for it to seem less vast and have more of an atmosphere.
Going back to set and props I would invest in getting either a real tree or a more realistic one to give the authentic feel as well as the magical forest vibe, I would either hire someone to do so or we could then invest in something like fairy lights or just small likes and infuse them into the tree to come on or use an effect on them when magic is occurring through either prospera or ariels, to give a connotation may help the audience and make it more interactive and effective. Props, id do what I thought to he demon hounds, I then would get amore realistic banquet just the story is more understandable. With things like lighting and sound I don't think I would add to much more lighting would maybe be low lights to highlight the tree when it isn't glowing or to create more effects for things like the shipwreck if we wanted to, with sound most was ok just maybe louder speakers for the musicians and have one mic for things like ariels rant of "you three people of sin" when their not on stage to give that authority and scary effect on the characters and more dramatic for the audience.
Friday 26 May 2017
Performance Skills/ commitment to performance - Tempest
Throughout there were a few performance skills that I had to develop within my character through rehearsing and performing process and the commitment I gave tone able to focus on them and come confident.
The first one was pace, when i get panicky on lines i don't understand I speed them up unintentionally and most people miss what I said, therefore I had to get confident in myself and trust that I knew what I was saying, therefore I could start to say it slower so people actually heard what I said however this one really took me a lot of the process to perfect the skill more. I really committed a lot of time outside of rehearsals to going over my lines slower by recording everyone else's lines on my line learner app and leaving a gap of the time it should take me to say that line in a good tempo, I'd then run my lines along with this tape and know if I finished before the next line started I was too fast, this really helped me to improve this skill and become confident with it.
Another skill what goes in hand with pace is my emphasis and expression, to develop and obtain these, I needed to actually know what was talking about, with Shakespearean it is quite difficult to always comprehend what he is going on about in scenes. Especially having a more mature character it meant her vocabulary was even a bit more extra than normal. Therefore, for this I went through with others what a lot of it meant and wrote it down, as well as looked up a lot of the phrases, so for example the phrase, "My lady the truth you speak doth lack some gentleness you rub the sore when you should bring the plaster", this meaning that she is being a cow when she should be supporting her fellow royal member, its this to have the effect I need to make emphasis on Rub the Sore, to make the offence more prominent and offensive and then also emphasise on bring the plaster to make the girl realise what she should be focusing on instead of herself for once. I focussed a lot on going through the script at home and when going over my lines to understand my lines as well as others I interact with really helped me develop and become confident in these skills for the performance.
Another performance skill was focus, this one Im usually strong at but with physical theatre scenes that included being attacked by ghouls, being under a trance and your cast mates having to have a over the top dramatic breakdowns a lot, it did challenge me. To work on this I rehearsed those scenes a lot, or went though them at home concentrating on what I was doing in those particular scenes and what emotions or expressions I should be emoting in those moments so that I connoted the scene with them and then thought about them first them the things that made me distracted or laugh. Creating these mindsets really helped me be more confidence with my performance allowed me to focus on character and physical theatre instead of trying not to get distracted by the other things that were going on around me.
The first one was pace, when i get panicky on lines i don't understand I speed them up unintentionally and most people miss what I said, therefore I had to get confident in myself and trust that I knew what I was saying, therefore I could start to say it slower so people actually heard what I said however this one really took me a lot of the process to perfect the skill more. I really committed a lot of time outside of rehearsals to going over my lines slower by recording everyone else's lines on my line learner app and leaving a gap of the time it should take me to say that line in a good tempo, I'd then run my lines along with this tape and know if I finished before the next line started I was too fast, this really helped me to improve this skill and become confident with it.
Another skill what goes in hand with pace is my emphasis and expression, to develop and obtain these, I needed to actually know what was talking about, with Shakespearean it is quite difficult to always comprehend what he is going on about in scenes. Especially having a more mature character it meant her vocabulary was even a bit more extra than normal. Therefore, for this I went through with others what a lot of it meant and wrote it down, as well as looked up a lot of the phrases, so for example the phrase, "My lady the truth you speak doth lack some gentleness you rub the sore when you should bring the plaster", this meaning that she is being a cow when she should be supporting her fellow royal member, its this to have the effect I need to make emphasis on Rub the Sore, to make the offence more prominent and offensive and then also emphasise on bring the plaster to make the girl realise what she should be focusing on instead of herself for once. I focussed a lot on going through the script at home and when going over my lines to understand my lines as well as others I interact with really helped me develop and become confident in these skills for the performance.
Another performance skill was focus, this one Im usually strong at but with physical theatre scenes that included being attacked by ghouls, being under a trance and your cast mates having to have a over the top dramatic breakdowns a lot, it did challenge me. To work on this I rehearsed those scenes a lot, or went though them at home concentrating on what I was doing in those particular scenes and what emotions or expressions I should be emoting in those moments so that I connoted the scene with them and then thought about them first them the things that made me distracted or laugh. Creating these mindsets really helped me be more confidence with my performance allowed me to focus on character and physical theatre instead of trying not to get distracted by the other things that were going on around me.
constraints and solutions - Tempest
Within the creation of The Tempest we had to work through a lot of things that wouldn't normally be used to now having to work with an outdoor theatre. For example when doing We Will Rock You, we were assisted with things such as special effects, lighting, mics, more access for set and so on , therefore to go from all to not a lot it was a hard challenge.
Without the pics we had to work on our projection, so for this we slowly practiced saying it louder within rehearsals, reciting whilst doing all the movements as well as different movements and trying it outside, this allowed us to get used to having to perform using the projection still emanating emotion and feeling within the words, as well as diction and not just focusing on making it loud, a big part of shakespeare is the story lines, so the audience have to be able to hear what you are saying.
Lighting was a really big thing to be taken away from our techniques to adding to a scene, for example in We Will Rock You lights were used to create prisons, represent electrocutions and recently in Our House lighting was used effectively to create the illusion of a fire. Being a group of very lighting dependent people we had to work of more ways to figure it out, our main use was through props and physical theatre, being someone quite strong in movement and choreography I felt quite confident as using this as a solution and a substitution to lighting, for example within Stephano, Trincula and Caliban scenes with the magic we got the Ariels to have more dynamic movement such as jumps and rolls to give them more of the audiences attention on what they were doing so it was more obvious, as well as adding songs into it to give it a more mythical and forest like feel. Adding music also helped us creating a more contrasting and dynamic piece as it gave more understanding to the story as well as helping to create the right atmospheres within scenes such as this one and the Royals sleeping scene. Special effects were also something we lost which for things like magic would have been very handy, special effect we'd be used to would be things like a smoke machine, can be used to create a misty atmosphere, night time or like the lighting in Our House it also assisted in creating the fire spectacle within the show, we covered up where we would used special effects with found sounds, movement pieces and choral pieces using our voice as our own special effects with assistance of the musicians.
As we focussed a lot on movement and physical theatre set became less of a huge need, we decided that we would only have a tree, woodland features (logs, rocks, flowers) and stage blocks, this was for more than one reason first being the physical theatre, allowing more room for it made it so we could make it bigger and more energetic, second reason be for travel, because we were going to a different theatre further away we had to be practical with our decisions so our tree, came in two halves, the feature could be put in boxes and the staging blocks can be taken apart allowing it to fit more easily in our choice of transport for it. As our staging was already set out side and had fake grass as its base we already had quite an island and suitable look for our pieces so this really helped up tie together out set with our location. We are also used to having quite large sets allowing us to create more contrasting positions and locations within scenes therefore we worked on having more levels, angles and pace to our different scenes and well as a varied entrance and exits from random locations to keep up the travelling across an island element within the story and making it more interactive for the audience, it also created more of a flow for the performance as there would be no clog at the exits and entrances of the stage.
Without the pics we had to work on our projection, so for this we slowly practiced saying it louder within rehearsals, reciting whilst doing all the movements as well as different movements and trying it outside, this allowed us to get used to having to perform using the projection still emanating emotion and feeling within the words, as well as diction and not just focusing on making it loud, a big part of shakespeare is the story lines, so the audience have to be able to hear what you are saying.
Lighting was a really big thing to be taken away from our techniques to adding to a scene, for example in We Will Rock You lights were used to create prisons, represent electrocutions and recently in Our House lighting was used effectively to create the illusion of a fire. Being a group of very lighting dependent people we had to work of more ways to figure it out, our main use was through props and physical theatre, being someone quite strong in movement and choreography I felt quite confident as using this as a solution and a substitution to lighting, for example within Stephano, Trincula and Caliban scenes with the magic we got the Ariels to have more dynamic movement such as jumps and rolls to give them more of the audiences attention on what they were doing so it was more obvious, as well as adding songs into it to give it a more mythical and forest like feel. Adding music also helped us creating a more contrasting and dynamic piece as it gave more understanding to the story as well as helping to create the right atmospheres within scenes such as this one and the Royals sleeping scene. Special effects were also something we lost which for things like magic would have been very handy, special effect we'd be used to would be things like a smoke machine, can be used to create a misty atmosphere, night time or like the lighting in Our House it also assisted in creating the fire spectacle within the show, we covered up where we would used special effects with found sounds, movement pieces and choral pieces using our voice as our own special effects with assistance of the musicians.
As we focussed a lot on movement and physical theatre set became less of a huge need, we decided that we would only have a tree, woodland features (logs, rocks, flowers) and stage blocks, this was for more than one reason first being the physical theatre, allowing more room for it made it so we could make it bigger and more energetic, second reason be for travel, because we were going to a different theatre further away we had to be practical with our decisions so our tree, came in two halves, the feature could be put in boxes and the staging blocks can be taken apart allowing it to fit more easily in our choice of transport for it. As our staging was already set out side and had fake grass as its base we already had quite an island and suitable look for our pieces so this really helped up tie together out set with our location. We are also used to having quite large sets allowing us to create more contrasting positions and locations within scenes therefore we worked on having more levels, angles and pace to our different scenes and well as a varied entrance and exits from random locations to keep up the travelling across an island element within the story and making it more interactive for the audience, it also created more of a flow for the performance as there would be no clog at the exits and entrances of the stage.
applying physical theatre
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?
In this year we have use a wide range of physical theatre skills to explore and portray text for performance.
WE WILL ROCK YOU:
Our first chance to do this was within our musical We Will Rock You, in this we took the script and created scenes and musical numbers using numerous physical theatre skills. An example of this would be when creating and performing the number Headlong, within this number we had to create the formation of a car using just our bodies and no props at all this was done through setting people, two in front and two behind with the driver holding a steering wheel, throughout the number we had to create movement to give that feel of going on a car journey so using use of contact improvisation our movements were really manipulated by the movement of the steering wheel to show we were all going the same direction.
Another example would be when doing the Flash number in which we are tortured. In this number we were sitting close to each other in a line on chairs, throughout the number we had to pretend to be tied to the chair and struggle like we couldn't escape using mime to make a more convincing performance as well as more practical for the format of our production. Within this scene we had to pretend to be electrocuted in time with the music, simultaneously shouting /singing the word flash in the style of screaming/in pain, therefore working strong on use of projection, timing, physical control, improvisation and stamina.
THE TEMPEST:
In the tempest we had many scenes involving physical theatre, using the shakespearean scenes to devise movement pieces to add dynamics to our performance. The main one everyone was involved with was the opening scene, The Ship Wreck/Tempest. In this scene we had display going through a storm on a ship and then wrecking, with just our bodies, musicians and a rope.
It started in just positions to a drum beat and lines being shouted these positions would be based on the lines as well as fear, hiding, covering for shelter, crying and more, showing these in gestures and levels, having the lines abled us to link the movement and create more effective positions. The beat would then increase, with these we would start travelling across the performance space, dramatically in the style of running for your life, including jumps,rolls and lifts to create more levels and dynamics.
We then would receive the rope and use it to create a v formation like the front of a ship. In this formation we would work as a team moving around as if we were being thrown, throwing ourselves against the rope, screaming and shouting for our lives, the dynamics would increase until eventually one by one using contact duets in which we would fall over the rope or be thrown under it resulting in us all being shipwrecked on the floor.
What were your ideas from reading the text or script or lines?
With We Will Rock you I had many ideas, even though the show is very fictional, I didn't want it to come off ridiculous, so the movement and physical theatre had to be less abstract and more meaningful, like the electrocution scene I wanted it to be mainly just us and not loads of props and set but to be more performance based so that our breath control and stamina would be more realistic to the audience and not just us scream, especially when it says things like "hurt them all!" which such a dramatic line we had to play up to it to perform the script to the best quality. This also working with the Seven Sea of Rhye, I had the idea that he(Khashoggi) is manipulating our movement but we are constantly trying to break free, showing this through interaction, contact, timing and dynamics. For example throwing our bodies into a position like we are being pulled but our feet can't move as within his power.
In the Tempest, from the script I really got the magical element and themes throughout and wanted to really get that across through physical theatre like casting spells, including the ariels to move around their victims and always be the control of movement like them pulling the rope in the shipwreck and moving the servants in the Come to the River song, using manipulation and contact making clearer connections between the magic and the results of it.
In this year we have use a wide range of physical theatre skills to explore and portray text for performance.
WE WILL ROCK YOU:
Our first chance to do this was within our musical We Will Rock You, in this we took the script and created scenes and musical numbers using numerous physical theatre skills. An example of this would be when creating and performing the number Headlong, within this number we had to create the formation of a car using just our bodies and no props at all this was done through setting people, two in front and two behind with the driver holding a steering wheel, throughout the number we had to create movement to give that feel of going on a car journey so using use of contact improvisation our movements were really manipulated by the movement of the steering wheel to show we were all going the same direction.
Another example would be when doing the Flash number in which we are tortured. In this number we were sitting close to each other in a line on chairs, throughout the number we had to pretend to be tied to the chair and struggle like we couldn't escape using mime to make a more convincing performance as well as more practical for the format of our production. Within this scene we had to pretend to be electrocuted in time with the music, simultaneously shouting /singing the word flash in the style of screaming/in pain, therefore working strong on use of projection, timing, physical control, improvisation and stamina.
THE TEMPEST:
In the tempest we had many scenes involving physical theatre, using the shakespearean scenes to devise movement pieces to add dynamics to our performance. The main one everyone was involved with was the opening scene, The Ship Wreck/Tempest. In this scene we had display going through a storm on a ship and then wrecking, with just our bodies, musicians and a rope.
It started in just positions to a drum beat and lines being shouted these positions would be based on the lines as well as fear, hiding, covering for shelter, crying and more, showing these in gestures and levels, having the lines abled us to link the movement and create more effective positions. The beat would then increase, with these we would start travelling across the performance space, dramatically in the style of running for your life, including jumps,rolls and lifts to create more levels and dynamics.
We then would receive the rope and use it to create a v formation like the front of a ship. In this formation we would work as a team moving around as if we were being thrown, throwing ourselves against the rope, screaming and shouting for our lives, the dynamics would increase until eventually one by one using contact duets in which we would fall over the rope or be thrown under it resulting in us all being shipwrecked on the floor.
What were your ideas from reading the text or script or lines?
With We Will Rock you I had many ideas, even though the show is very fictional, I didn't want it to come off ridiculous, so the movement and physical theatre had to be less abstract and more meaningful, like the electrocution scene I wanted it to be mainly just us and not loads of props and set but to be more performance based so that our breath control and stamina would be more realistic to the audience and not just us scream, especially when it says things like "hurt them all!" which such a dramatic line we had to play up to it to perform the script to the best quality. This also working with the Seven Sea of Rhye, I had the idea that he(Khashoggi) is manipulating our movement but we are constantly trying to break free, showing this through interaction, contact, timing and dynamics. For example throwing our bodies into a position like we are being pulled but our feet can't move as within his power.
In the Tempest, from the script I really got the magical element and themes throughout and wanted to really get that across through physical theatre like casting spells, including the ariels to move around their victims and always be the control of movement like them pulling the rope in the shipwreck and moving the servants in the Come to the River song, using manipulation and contact making clearer connections between the magic and the results of it.
How did you explore the text/script/lines- did you discuss and
try ideas/improvise?
With We Will Rock You there was many a time of trial and error, whether it was in headlong, seven seas of rhye or just transitions. With Headlong, there were so many possibilities to give the car effect that everyone was contributing, however we had to work with the best ones, because we barely move it was easy to legit get boring and to stationary so we decided as group to ad levels like we were going down hills, doing this nearer to the end of the routine add more of a build up and add development. Also with seven seas of rhye when we got captured I gave the idea in which we used to keep up feet to the floor in our zones to make it out as if trapped in a laser beam cell, everyone like this idea and made the routine really effective showing the manipulation of khashoggi effectively.
With the Tempest in the original opening we did all the movement together and simultaneously with the speech to make it more dramatic however when practising it, it became to erratic and would mess with the lines because they would become lost within the movement and chaos, therefore we then made the idea of doing the positions to the drum with the speech to give the actors more of a chance as well as the audience to understand the scene and situation and setting of the show.
what worked well and what didn’t work? WWW/EBI analysis of any
devising lessons and rehearsals?
WWRY-
WWW- In the rehearsal process, devising went really well because everyone would contribute to and we would all mind map out ideas with one another, with a lot of the pieces people were allocated to taking control of that particular one, this was effective as it allowed there to be enough focus and thought out into it and didn't allow everyones attentions all the time so people could work on other numbers and scenes.
EBI - To be better we should of planned timings more therefore people would been there all the time and at the rights times so that everyone would be included in the process an learn them so it is nothing something that has to be done in the future, for example if someone misses out from un organisation.
The Tempest -
WWW- In this we split off into different groups to research into the different themes and possible numbers for the performance and then our ideas on them, this worked effectively because it gave everyone a sense of involvement as well as getting a better of understand of the play and how to devise for it,
EBI- peoples energy was a big problem within the devising and rehearsing period of the tempest, people would lose energy and therefore get bored quickly when we would have to repeat sections in order to get them correct.
EBI - To be better we should of planned timings more therefore people would been there all the time and at the rights times so that everyone would be included in the process an learn them so it is nothing something that has to be done in the future, for example if someone misses out from un organisation.
The Tempest -
WWW- In this we split off into different groups to research into the different themes and possible numbers for the performance and then our ideas on them, this worked effectively because it gave everyone a sense of involvement as well as getting a better of understand of the play and how to devise for it,
EBI- peoples energy was a big problem within the devising and rehearsing period of the tempest, people would lose energy and therefore get bored quickly when we would have to repeat sections in order to get them correct.
How have you developed your role/character? What were your
ideas?
WWRY - I really developed my character of Meat by using my idea of creating her own body language for the show so that her characteristics came out within the performance. Meat is a very confident and sassy person which I am not, so had to display this and highlight the difference between myself and Meat. I really developed the way she interacts with other characters, by working out the clear relationships she had with everyone and different ways to define them with her movement for example with meat contact was very important to show that connection whereas someone like Scaramouche as their first meeting the most connection would be her shoving past her or something similar.
Tempest - In this I had many developments for my character Gonzala, originally I had her as quite a stuck up, posh lady so her movements were very slow and graceful with chin raised and everything she did had elegance to it and was very lady like however as we pushed more into the play I felt she was more like characters such as Molly Weasley(Harry Potter) and Moanas Grandma (Moana), so gave her more free movement but still had that elegance about her she was more easy, but being old had restrictions to movement, as they were characters who are cuddly and loved by all.
How did your ideas help show the meaning of the scene
or show?
Tempest - Gonzalas choices that I made had a lot of meaning because she represents an ongoing positive vibe for the king and the royals always calm and graceful, which was important as well as highlighting her age, showing she was old enough to be apart of Prospers story.
Meat - My ideas on Meat had a big impact because she constantly has to be the example for the rest of the heart break hotel and the symbol of strength and hope, and constantly show she's not scared, also a good idea because it helps her defend her place in the heart break hotel. Her bold and confident behaviour constantly reminds the audience of the rebellion they've created and the freedom they are fighting for within the story.
Evaluate the final performance/s – WWW/EBI.
WWRY -
www- My characterisation went well within the performance allowing to convey the right themes within the production helping with the progress of the storyline. The group numbers such as headlong and seven seas of rhye, were adapted for our staging and timing was perfected so had the dramatic effects it needed, with headlong we changed the steering wheel to a hubcap to give that more scavenger feel than the random steering wheel. Our use of manipulation worked really effectively as well as our use of slow motion in the fight scene.
EBI - things like the GaGa scenes could have been sharper, and more robot like to give that futuristic scene, and more of an intimidating demeanour. Also we could have worked on timing a bit more within flash however it was effective in some aspects when it sounded like we weren't trying to be in time with another.
The Tempest -
www- Our shop wreck was more effective in the final performance by not including the speech within the movement to make more of a distinction between it and to make the storyline more clear, within the performance the shipwreck had more effect as everyone inputed more energy and use of voice to create the scared effect. all the magic scenes also worked effective using contact improvisation, interaction, use of vocal dynamics as well as team work.
EBI - would have been better if we had had more time to work in the space so we could introduce more dynamics and levels within it, as well if we had more time to work on contact pieces, then could have created more use of contrasts and use of emotion.
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