My first port of call for characterisations was emotional recall (as described by Stanislavski). When approaching Dinarzad, I found my way in through imagining how I would feel if someone was taking away one of my brothers and thinking about how I would act. It helped me to be a lot freer in movement as well because I had to put aside my fear of a lack of structure (free movement without points of reference) which usually make me feel vulnerable because if an executioner had one of my brothers then I wouldn't worry in the moment about harming myself, I would take risks and worry about myself afterwards; I would be forced to do something rash and unlike me.
Similarly, my holiday in Egypt helped me a lot and there was a wealth of sensory experience I could draw from about the world of the play (as taught by Stanislavski also). There were times in the play, for example the market place scene, where I knew exactly what it was like to be in an Arabian market place. When I acted in this scene, I thought about the sandy ground, sound of haggling and pushy market stall traders ("Looky looky, good price! Good price!") The sellers would give me earrings and stroke my hair whilst telling me how beautiful I was--they were expert flatterers and flirts. The sleazy atmosphere did make me feel a bit sick but left an indelible impression in my mind.
Having these experiences to draw from gave me a world in my imagination that I could bring to the stage and believe that I was there. The music used in the market scene was so similar to that I heard in Egypt that it kick started my imagination and transported me back there.
I can say with confidence that I understand and find Stanislavski's theories helpful. As a performer I take my characters very seriously and this is why Stanislavski appeals to me because I can see how his theories promote thinking in depth. I find Lecoq's theories less useful because it is less about thinking and imagination--working from relaxation helps me less because some characters are very intense and passionate, so it would be less believable if you were relaxed.
Monday, 16 April 2012
Tuesday, 3 April 2012
24 March, 2012
Portsmouth
Like the strike, I wasn't really looking forward going to Portsmouth to perform outside to a small audience, but I loved every minute of it!
It was a very relaxed atmosphere at first, when we were looking around our performance space and talking about the day, which made it difficult to rehearse formally for our performance that afternoon. There was hardly any focus and I knew Jamie and Gavin were disappointed, which made me sad as I was really trying and I didn't want my grades to be affected by others. Eventually though, we had rehearsed everything and unloaded the props, ready to perform.
As I had predicted, there wasn't much of an audience, and we did mess up a lot in the show, but I didn't feel disheartened or negative at all by anything. I had performed outside before so I knew it would hard, and how much voice projection was needed, so I looked at it as just an experience to learn from.
I really enjoyed this whole project and I feel I've learnt a lot of valuable skills (on and off stage) from this, such as:
The importance of focus, how much time is wasted when focus isn't there, using time productively, negativity gets you no where and just makes it harder to work, it doesn't matter if the show goes wrong as long as you still enjoy it because then the audience will just laugh with you and think nothing of it, the audience pick up on your mood a lot so if you are disengaged so will they be and, most importantly, I gained confidence.
I hope the next project we do will be directed the same way as this one, as it worked really well!
Like the strike, I wasn't really looking forward going to Portsmouth to perform outside to a small audience, but I loved every minute of it!
It was a very relaxed atmosphere at first, when we were looking around our performance space and talking about the day, which made it difficult to rehearse formally for our performance that afternoon. There was hardly any focus and I knew Jamie and Gavin were disappointed, which made me sad as I was really trying and I didn't want my grades to be affected by others. Eventually though, we had rehearsed everything and unloaded the props, ready to perform.
As I had predicted, there wasn't much of an audience, and we did mess up a lot in the show, but I didn't feel disheartened or negative at all by anything. I had performed outside before so I knew it would hard, and how much voice projection was needed, so I looked at it as just an experience to learn from.
I really enjoyed this whole project and I feel I've learnt a lot of valuable skills (on and off stage) from this, such as:
The importance of focus, how much time is wasted when focus isn't there, using time productively, negativity gets you no where and just makes it harder to work, it doesn't matter if the show goes wrong as long as you still enjoy it because then the audience will just laugh with you and think nothing of it, the audience pick up on your mood a lot so if you are disengaged so will they be and, most importantly, I gained confidence.
I hope the next project we do will be directed the same way as this one, as it worked really well!
March 22, 2012
Strike
Today was the strike. This meant a few hours dedicated to tidying the set, dismantling the props and putting everything back where it belonged.
I didn't feel very enthusiastic about doing this, because I'd never done one before and I couldn't see how there would be enough for everyone to do and I didn't want to be sitting doing nothing. However, we had used a lot more things that I had thought. I didn't realise how much materials we'd used to make props. When they were dismanteled, I sat and folded sheet after sheet of material and putting them in neat piles ready to put back with our collection of materials. Every little piece I touched was folded perfectly and put in one my many piles.
Then, I helped tidy the costume cupboard, which took me ages. I folded every item of clothing on the floor, which had just been chucked in there messily. I just about managed to find a place for everything to fit.
I felt very proud of what I'd done when I'd finished, so that was my strength. Not sure what my weakness/target was.
Today was the strike. This meant a few hours dedicated to tidying the set, dismantling the props and putting everything back where it belonged.
I didn't feel very enthusiastic about doing this, because I'd never done one before and I couldn't see how there would be enough for everyone to do and I didn't want to be sitting doing nothing. However, we had used a lot more things that I had thought. I didn't realise how much materials we'd used to make props. When they were dismanteled, I sat and folded sheet after sheet of material and putting them in neat piles ready to put back with our collection of materials. Every little piece I touched was folded perfectly and put in one my many piles.
Then, I helped tidy the costume cupboard, which took me ages. I folded every item of clothing on the floor, which had just been chucked in there messily. I just about managed to find a place for everything to fit.
I felt very proud of what I'd done when I'd finished, so that was my strength. Not sure what my weakness/target was.
March 21, 2012
Evening Show
Our last show of the day was the best yet, nothing major went wrong and we only got distracted once. Also, because we was so confident with it by now, we could add in the odd line that wasn't in the script which made me feel uplifted and excited on stage. I think the knowledge that it was our last show (not counting Portsmouth) was driving us all on to make it the best it could be.
My strength was remembering all my cues and lines and voice projection.
My weakness was that because we were so confident, we were a bit too relaxed at time, chatting on the sides and acting more informal.
Our last show of the day was the best yet, nothing major went wrong and we only got distracted once. Also, because we was so confident with it by now, we could add in the odd line that wasn't in the script which made me feel uplifted and excited on stage. I think the knowledge that it was our last show (not counting Portsmouth) was driving us all on to make it the best it could be.
My strength was remembering all my cues and lines and voice projection.
My weakness was that because we were so confident, we were a bit too relaxed at time, chatting on the sides and acting more informal.
March 21, 2012
Matinee
Our first show of the day was perfect. Less lines was forgotten, the focus was excellent and we were better with the flats now, which helped the show run smoothly.
This was the show my parents went to, so I could ask them, as audience members what they thought of the show. They both said it was brilliant, and they knew what emotion I was trying to portray all the time I was on stage, which made me feel happy and proud of myself.
My strength in this show was my voice projection, which I'd been working on, and my weakness was playing with my hands too much on stage, which made me look nervous when I wasn't.
Our first show of the day was perfect. Less lines was forgotten, the focus was excellent and we were better with the flats now, which helped the show run smoothly.
This was the show my parents went to, so I could ask them, as audience members what they thought of the show. They both said it was brilliant, and they knew what emotion I was trying to portray all the time I was on stage, which made me feel happy and proud of myself.
My strength in this show was my voice projection, which I'd been working on, and my weakness was playing with my hands too much on stage, which made me look nervous when I wasn't.
March 20, 2012
Evening show
We performed our show again this evening, to a larger audience. It went so well, we completely nailed it! There was no negative feedback at all, which made me feel proud and happy.
My strength when I performed this time was my facial expressions and how I showed my character's emotions without words.
My target is still voice projection.
We performed our show again this evening, to a larger audience. It went so well, we completely nailed it! There was no negative feedback at all, which made me feel proud and happy.
My strength when I performed this time was my facial expressions and how I showed my character's emotions without words.
My target is still voice projection.
March 20, 2012
Dress Rehearsal
The dress rehearsal went really well, until the end of the envious sisters, then, something small went wrong and some of the cast started laughing. All the focus we had was lost after that and it was harder to stay in character. As a result, lines was forgotten and the audience lost interest.
I felt a little negative and frustrated aftwards, but happy, because we all learnt a lot from the experiences.
My strength was not forgetting any lines and staying disciplined on stage.
My weakness was I was easily distracted back stage.
The dress rehearsal went really well, until the end of the envious sisters, then, something small went wrong and some of the cast started laughing. All the focus we had was lost after that and it was harder to stay in character. As a result, lines was forgotten and the audience lost interest.
I felt a little negative and frustrated aftwards, but happy, because we all learnt a lot from the experiences.
My strength was not forgetting any lines and staying disciplined on stage.
My weakness was I was easily distracted back stage.
March 20, 2012
Lecturer: Gavin Maxwell
Lesson: One
In this session, we ran up to Alibaba part 2. It went well, but there were a lot of people lines forgotten, which let it down a bit. We have a dress rehearsal today, so I'm just hoping it'll be alright then.
Lesson: One
In this session, we ran up to Alibaba part 2. It went well, but there were a lot of people lines forgotten, which let it down a bit. We have a dress rehearsal today, so I'm just hoping it'll be alright then.
March 19, 2012
Lecturer: Gavin Maxwell
Lesson: One
Today, we did a complete run through! I felt very negative because there were several moments where I was forgotten, (the jar scene in Alibaba and at the end of the Little Beggar, Es-sindibad) and although I tried to take on the feedback I was given in previous sessions, I still felt like I didn't do my best, because I was distracted by the interruptions.
Lesson: One
Today, we did a complete run through! I felt very negative because there were several moments where I was forgotten, (the jar scene in Alibaba and at the end of the Little Beggar, Es-sindibad) and although I tried to take on the feedback I was given in previous sessions, I still felt like I didn't do my best, because I was distracted by the interruptions.
Thursday, 29 March 2012
March 15, 2012
Lecturer: Gavin Maxwell
Lesson: Three
In this session, ran act two. It went well, but lacked pace and energy, (especially The Envious Sisters) and wasn't much confidence. But for the first run through, I thought it was brilliant. We were a lot more focused in this session, which really helped.
Feedback
. Need to be my confident and committed to the story
. The whole story needs pace and energy
. Continuity in the way we sit at the side
. Remember that projection means more energy on stage
. Work on the end of the religious woman's lines
. Work on the palace scene
Lesson: Three
In this session, ran act two. It went well, but lacked pace and energy, (especially The Envious Sisters) and wasn't much confidence. But for the first run through, I thought it was brilliant. We were a lot more focused in this session, which really helped.
Feedback
. Need to be my confident and committed to the story
. The whole story needs pace and energy
. Continuity in the way we sit at the side
. Remember that projection means more energy on stage
. Work on the end of the religious woman's lines
. Work on the palace scene
March 15, 2012
Lecturer: Gavin Maxwell
Lesson: Two
In this session, we were able to run act one as Daniella was in. It didn't go well, because kept making mistakes and weren't sure about certain parts.
Feedback
. I need to project my voice all the way through
. When we sit at the sides, we have to sit in a certain place (the mats as they stop the sticks being heard when they are put down) and in a certain way (cross legged or with feet under us)
. No sound of horses now, just moving as a tight army (disappointed about this as I loved that)
. When we are in the jars, then melt and die, don't move
. When Jonny is lifting Joe, everyone at the sides repeat "huh!"
Lesson: Two
In this session, we were able to run act one as Daniella was in. It didn't go well, because kept making mistakes and weren't sure about certain parts.
Feedback
. I need to project my voice all the way through
. When we sit at the sides, we have to sit in a certain place (the mats as they stop the sticks being heard when they are put down) and in a certain way (cross legged or with feet under us)
. No sound of horses now, just moving as a tight army (disappointed about this as I loved that)
. When we are in the jars, then melt and die, don't move
. When Jonny is lifting Joe, everyone at the sides repeat "huh!"
March 15, 2012
Lecturer: Gavin Maxwell
Lesson: One
Today, I came in feeling tired and edgy, but eager to work, as we are running out of time and every second is valuable.
The plan was to run act one in this session, act two in the next and the whole show after lunch. However, this could not happen, as Daniella wasn't here. As a result, we had to sit and run our lines, which made me feel frustrated and restless, although there was nothing else to be done.
Lesson: One
Today, I came in feeling tired and edgy, but eager to work, as we are running out of time and every second is valuable.
The plan was to run act one in this session, act two in the next and the whole show after lunch. However, this could not happen, as Daniella wasn't here. As a result, we had to sit and run our lines, which made me feel frustrated and restless, although there was nothing else to be done.
March 14, 2012
Lecturer: Gavin Maxwell
Lesson: Three
In this rehearsal, we finished blocking The Story Of The Envious Sisters and started working on The Story Without An Ending.
It was surprisingly emotional doing this last story, because we see the king open his heart again and fall in love. We were all very choked by the end of the lesson.
My strength was how I performed The Old Religious Woman, because I planned how I would enter and exit the stage myself, added in an extra line, ("fairwell child") and performed it off-book almost accurately for the first time.
My weakness in this lesson was my focus. When it got to about 4,00, I completely lost concentration because I was so tired, which meant I was very easily distracted by people talking around me.
I need to disaplin myself more to make sure this doesn't happen again in the next few days, which are the last, crucial rehearsals.
Lesson: Three
In this rehearsal, we finished blocking The Story Of The Envious Sisters and started working on The Story Without An Ending.
It was surprisingly emotional doing this last story, because we see the king open his heart again and fall in love. We were all very choked by the end of the lesson.
My strength was how I performed The Old Religious Woman, because I planned how I would enter and exit the stage myself, added in an extra line, ("fairwell child") and performed it off-book almost accurately for the first time.
My weakness in this lesson was my focus. When it got to about 4,00, I completely lost concentration because I was so tired, which meant I was very easily distracted by people talking around me.
I need to disaplin myself more to make sure this doesn't happen again in the next few days, which are the last, crucial rehearsals.
March 14, 2012
Lecturer: Jamie Roberts
Lesson: Two
In this lesson, we finished blocking Abu Hassan and Es-sindibad.
I felt very relieved when we had done this, because I
was really starting to panic about how little time had.
I am pleased we sorted out my entrances and exits in Abu Hassan as well, as this was my target previously.
Then, because certain people weren't around, a small group of us went to record the voices of the stones. I was excited to do this, and thoroughly enjoyed it, but I wasn't happy with the end result, as I messed up one of my lines.
Luckily, I was given the chance to record it again.
The focus deteriorated further in this lesson, which slowed down to rehearsal considerably, and made everyone feel very panicked.
I think that is still our weakness, as there is always room for lots of improvements.
My strength was using my spare time productively.
Lesson: Two
In this lesson, we finished blocking Abu Hassan and Es-sindibad.
I felt very relieved when we had done this, because I
was really starting to panic about how little time had.
I am pleased we sorted out my entrances and exits in Abu Hassan as well, as this was my target previously.
Then, because certain people weren't around, a small group of us went to record the voices of the stones. I was excited to do this, and thoroughly enjoyed it, but I wasn't happy with the end result, as I messed up one of my lines.
Luckily, I was given the chance to record it again.
The focus deteriorated further in this lesson, which slowed down to rehearsal considerably, and made everyone feel very panicked.
I think that is still our weakness, as there is always room for lots of improvements.
My strength was using my spare time productively.
March 14, 2012
Lecturer: Jamie Roberts
Lesson: One
The day started with Clair's introduction to the flats and the stage weights.
We learnt how to lift the weights correctly without hurting our backs, bending our knees and keeping our backs straight.
I found this challenging, but just about achievable. I would need to improve a lot if I had to do this on stage though, as it still hurt my shoulders.
We then learnt how to move the flats safely, putting our hands in exactly the right places and nudging it forward with our feet.
Some people were afraid to handle them, as they were so big and fragile, so I wasn't keen to have a go at moving them. But, when I did, I wasn't afraid at all, and found the flats reasonably stable and very easy to use.
In our company, we do not have stage managers to operate the set, it is down to the actors to do everything, so it is vital that we all know how to be completely safe on stage.
When this was over, we carried inn blocking Es-sindibad and then recapped Abu Hassan.
We got a lot done in this lesson, but the focus wasn't great.
My strength was operating the flats and stage weights correctly, and I need to improve my entrance on stage as a friend in Abu Hassan, as it confuses me.
Lesson: One
The day started with Clair's introduction to the flats and the stage weights.
We learnt how to lift the weights correctly without hurting our backs, bending our knees and keeping our backs straight.
I found this challenging, but just about achievable. I would need to improve a lot if I had to do this on stage though, as it still hurt my shoulders.
We then learnt how to move the flats safely, putting our hands in exactly the right places and nudging it forward with our feet.
Some people were afraid to handle them, as they were so big and fragile, so I wasn't keen to have a go at moving them. But, when I did, I wasn't afraid at all, and found the flats reasonably stable and very easy to use.
In our company, we do not have stage managers to operate the set, it is down to the actors to do everything, so it is vital that we all know how to be completely safe on stage.
When this was over, we carried inn blocking Es-sindibad and then recapped Abu Hassan.
We got a lot done in this lesson, but the focus wasn't great.
My strength was operating the flats and stage weights correctly, and I need to improve my entrance on stage as a friend in Abu Hassan, as it confuses me.
March 13, 2012
Lecturer: Jamie Roberts and Gavin Maxwell
In this lesson, we carried on blocking Es-sindibad, but this time we had Gavin's voice-over. It had the sounds of birds, water and atmospherical music in the background and I loved the affect it had on the story. I had read the script several times, and never quite understood the story, but listening to the voice-over and sound scape made me understand it perfectly. The script was read with such a lot of expression that I felt like I was part of it. The sound scape helped me to know when Es-sindibad was all the time and made me feel like I was there as well.
I find it hard to give myself a strength and a weakness when we are working on Es-sindibad because I always stay respectful and focused for the group and I don't have a weakness because I'm not in the scenes.
In this lesson, we carried on blocking Es-sindibad, but this time we had Gavin's voice-over. It had the sounds of birds, water and atmospherical music in the background and I loved the affect it had on the story. I had read the script several times, and never quite understood the story, but listening to the voice-over and sound scape made me understand it perfectly. The script was read with such a lot of expression that I felt like I was part of it. The sound scape helped me to know when Es-sindibad was all the time and made me feel like I was there as well.
I find it hard to give myself a strength and a weakness when we are working on Es-sindibad because I always stay respectful and focused for the group and I don't have a weakness because I'm not in the scenes.
March 13, 2012
Lecturer: Gillian Hipp and Gavin Maxwell
I came into today's lesson feeling upbeat, positive and ready to work hard. Gillian told me we would be starting with a belly dancing warm-up and I was excited at the prospect of doing the only dance I was good at again.
But then, when we starting working on moving together as a group at exactly the same time, without an obvious leader, the entire attitude of the group changed.
I was really enjoying myself and focusing really well, but some people objected strongly to the task and expressed it vocally, saying it was a waist of time and we should be doing something else.
I strongly disagreed with this, as I knew that this close to the show, we wouldn't randomly be told to do something that wasn't crucial to the show, and I was very embarrassed about what was being said to Gillian.
Even when this task ended and we ran through Alibaba, there was still an extremely negative atmosphere in the room, which I hated.
I think my strength in this lesson was my trust and respect for the lecturers/directors and being able to perform the exercises appropriately.
I think I could improve on moving as a group.
I came into today's lesson feeling upbeat, positive and ready to work hard. Gillian told me we would be starting with a belly dancing warm-up and I was excited at the prospect of doing the only dance I was good at again.
But then, when we starting working on moving together as a group at exactly the same time, without an obvious leader, the entire attitude of the group changed.
I was really enjoying myself and focusing really well, but some people objected strongly to the task and expressed it vocally, saying it was a waist of time and we should be doing something else.
I strongly disagreed with this, as I knew that this close to the show, we wouldn't randomly be told to do something that wasn't crucial to the show, and I was very embarrassed about what was being said to Gillian.
Even when this task ended and we ran through Alibaba, there was still an extremely negative atmosphere in the room, which I hated.
I think my strength in this lesson was my trust and respect for the lecturers/directors and being able to perform the exercises appropriately.
I think I could improve on moving as a group.
March 12, 2012
Lecturer: Gavin Maxwell
Lesson Two
In this lesson, we watched the first part of The Envious Sisters and I learnt what I had to do with the stick to make a window at the beginning.
As I was watching the scene, I had a vivid picture of the basket containing the baby on a piece of blue cloth, being held by several company members, but I didn't suggest it because I knew it wouldn't work.
When I had watched and learnt it, Arnold, Daniella, Bradley and I went into the acting studio to block the first part of The Story Without An Ending.
As this was mainly Arnold and Daniella's scene, I concentrating on showing the emotions Dinarzad was going through as she listened to what was said.
These included shock, fear, pain and relief. Showing them was hard and I couldn't use words which is how I show my emotions. I showed her's by breaths, shoulders and facial expressions.
These took up a lot of time and energy to choreograph myself, so it kept me from becoming restless.
My target is to work on them further, and my strength was having the initiative to work on my character independently without being told to.
Lesson Two
In this lesson, we watched the first part of The Envious Sisters and I learnt what I had to do with the stick to make a window at the beginning.
As I was watching the scene, I had a vivid picture of the basket containing the baby on a piece of blue cloth, being held by several company members, but I didn't suggest it because I knew it wouldn't work.
When I had watched and learnt it, Arnold, Daniella, Bradley and I went into the acting studio to block the first part of The Story Without An Ending.
As this was mainly Arnold and Daniella's scene, I concentrating on showing the emotions Dinarzad was going through as she listened to what was said.
These included shock, fear, pain and relief. Showing them was hard and I couldn't use words which is how I show my emotions. I showed her's by breaths, shoulders and facial expressions.
These took up a lot of time and energy to choreograph myself, so it kept me from becoming restless.
My target is to work on them further, and my strength was having the initiative to work on my character independently without being told to.
March 12, 2012
Lecturer: Gavin Maxwell
Lesson: One
In the first session, I was in a separate room with the people tidying up The Little Beggar, giving feedback and learning my lines.
I didn't really enjoy this, because I got bored and restless and I find and hard to learn lines without acting it out at the same time.
My strength was giving useful feedback to Demi and Charlie, suggesting pauses and my weakness was my lack of focus.
Lesson: One
In the first session, I was in a separate room with the people tidying up The Little Beggar, giving feedback and learning my lines.
I didn't really enjoy this, because I got bored and restless and I find and hard to learn lines without acting it out at the same time.
My strength was giving useful feedback to Demi and Charlie, suggesting pauses and my weakness was my lack of focus.
March 9, 2012
Lecturer: Gavin Maxwell
Lesson: Two
In this lesson, we recapped what we had done of act two, then finished blocking The Woman Who Wouldn't Eat and blocked The Promise then linked them together.
When all this was done, I felt so relieved. I really feel like we're getting somewhere now, and I'm getting really excited to perform it.
I only marked it through today, but didn't get distracted at all, which means I succeeded an earlier target.
This made me feel proud and positive.
My target for future lessons is to carry on taking risks, because every time I do, it improves my character a lot.
Lesson: Two
In this lesson, we recapped what we had done of act two, then finished blocking The Woman Who Wouldn't Eat and blocked The Promise then linked them together.
When all this was done, I felt so relieved. I really feel like we're getting somewhere now, and I'm getting really excited to perform it.
I only marked it through today, but didn't get distracted at all, which means I succeeded an earlier target.
This made me feel proud and positive.
My target for future lessons is to carry on taking risks, because every time I do, it improves my character a lot.
March 9, 2012
Lecturer: Gavin Maxwell
Lesson: One
Today we carried on blocking The Woman Who wouldn't Eat. It went well, but was more difficult because people weren't here.
I felt angry and let down by how many people was missing, because I knew they couldn't all be ill at the same time and with the show so close, we afford people to be so inconsiderate.
My strength was taking on the physicality of what I imagined gool should be: On all fours, with tensed back, clawing hands and a dark expression.
I missed a few cues though, which was my weakness.
Lesson: One
Today we carried on blocking The Woman Who wouldn't Eat. It went well, but was more difficult because people weren't here.
I felt angry and let down by how many people was missing, because I knew they couldn't all be ill at the same time and with the show so close, we afford people to be so inconsiderate.
My strength was taking on the physicality of what I imagined gool should be: On all fours, with tensed back, clawing hands and a dark expression.
I missed a few cues though, which was my weakness.
March 8, 2012
Lecturer: Gavin Maxwell
Lesson: Three
Today we ran the whole of act one.
It went really well, with only a few mistakes in Alibaba and Abu Hassan.
This was good though, because it showed us what we needed to work on.
Then, we read through the story Of The Envious Sisters and I was given the part of the old religious woman.
I felt happy and excited about this, because it gave me the chance to try out something new, with new challenges.
Looking back, it was a very positive day. I didn't notice it at the time, but everyone was really focused and co-operative.
My strength was remembering all my lines and cues in the act one run through, and I want to work on developing my new character.
I want to take risks with it, because I think the Old Religious Woman could be great and want to do it complete justice.
Lesson: Three
Today we ran the whole of act one.
It went really well, with only a few mistakes in Alibaba and Abu Hassan.
This was good though, because it showed us what we needed to work on.
Then, we read through the story Of The Envious Sisters and I was given the part of the old religious woman.
I felt happy and excited about this, because it gave me the chance to try out something new, with new challenges.
Looking back, it was a very positive day. I didn't notice it at the time, but everyone was really focused and co-operative.
My strength was remembering all my lines and cues in the act one run through, and I want to work on developing my new character.
I want to take risks with it, because I think the Old Religious Woman could be great and want to do it complete justice.
March 8, 2012
Lecturer: Gavin Maxwell
Lesson: Two
We worked on sections between the stories in this lesson. The four of us involved in them went into another another room with Alex, running the ones we've blocked so far, and working out how to link the stories together smoothly.
I enjoyed this, but would've preferred to work on a story as we haven't blocked them all yet. Although, this would still have had to be done at some stage so I didn't mind too much.
I was very disconnected with my character when this was being done, because I was just saying the lines to work out staging. However, I found this impacted on my focus a lot. When I wasn't in character, I noticed more little things that were going on in the room and got distracted easier.
My target is definitely to try not to do that.
My strength was asking questions about what I was doing, instead of just doing it even though I didn't know why.
For example, at one point when I was told to lie down, I didn't understand why because it was half way through Es-sindibad, which felt unnatural. I I questioned it and it was changed.
Lesson: Two
We worked on sections between the stories in this lesson. The four of us involved in them went into another another room with Alex, running the ones we've blocked so far, and working out how to link the stories together smoothly.
I enjoyed this, but would've preferred to work on a story as we haven't blocked them all yet. Although, this would still have had to be done at some stage so I didn't mind too much.
I was very disconnected with my character when this was being done, because I was just saying the lines to work out staging. However, I found this impacted on my focus a lot. When I wasn't in character, I noticed more little things that were going on in the room and got distracted easier.
My target is definitely to try not to do that.
My strength was asking questions about what I was doing, instead of just doing it even though I didn't know why.
For example, at one point when I was told to lie down, I didn't understand why because it was half way through Es-sindibad, which felt unnatural. I I questioned it and it was changed.
March 8, 2012
Lecturer: Gavin Maxwell
Lesson: One
This was one of the most positive rehearsals so far.
We polished Alibaba, going over parts we weren't sure very and adding things here and there.
I think the reason it was so positive was because we knew we had nearly finished the story and we were getting bored with running it.
We are all starting to panic about the time limit, so I think knowing that a story was nearly done made us feel like we were getting someone.
However, because ever was so happy and laughing, I got distracted easier than usual. That was my weakness in this lesson.
My strength was the feedback I gave to Teri to improve her character, because she felt she was struggling a bit with making Alibaba's wife so stuck up.
I helped her find pauses and expression in her lines, which she found helpful.
Lesson: One
This was one of the most positive rehearsals so far.
We polished Alibaba, going over parts we weren't sure very and adding things here and there.
I think the reason it was so positive was because we knew we had nearly finished the story and we were getting bored with running it.
We are all starting to panic about the time limit, so I think knowing that a story was nearly done made us feel like we were getting someone.
However, because ever was so happy and laughing, I got distracted easier than usual. That was my weakness in this lesson.
My strength was the feedback I gave to Teri to improve her character, because she felt she was struggling a bit with making Alibaba's wife so stuck up.
I helped her find pauses and expression in her lines, which she found helpful.
March 7, 2012
Lecturer: Gavin Maxwell
Lesson Four
This wasn't a timetabled lesson, we were asked to stay and rehearse for the college open evening. I was pleased to be of help to our department and the college and loved setting a good example, but got so bored and tired by the end of it.
We didn't block anything new, concentrating on recapping Alibaba and The Little Beggar, polishing what we already had.
My strength in this rehearsal was showing the same amount of commitment and focus throughout the lesson, even though I was restless and tired.
My weakness was that because of this, I didn't make as much effort to contribute ideas and feedback to the group.
Lesson Four
This wasn't a timetabled lesson, we were asked to stay and rehearse for the college open evening. I was pleased to be of help to our department and the college and loved setting a good example, but got so bored and tired by the end of it.
We didn't block anything new, concentrating on recapping Alibaba and The Little Beggar, polishing what we already had.
My strength in this rehearsal was showing the same amount of commitment and focus throughout the lesson, even though I was restless and tired.
My weakness was that because of this, I didn't make as much effort to contribute ideas and feedback to the group.
March 7, 2012
Lecturer: Gavin Maxwell
Lesson Three
We were told to spend the first 15 mins of the lesson rehearsing Alibaba indipendently. By the end of this time, I felt so irritable and frustrated because the furthest we got was to get into our starting positions, again because no one was paying attention. I understand that everyone was tired because we had to stay until late that evening, but we don't have long to go until the show and every little bit of time we have counts. Also, sitting there for 15 mins watching them play football was a complete waste of my (and the few others that really wanted to try) time.
However, by the end of the lesson we had blocked a lot more of Alibaba and polish The Little Beggar as well, with really good focus, which made me feel happier.
Strength I was the one who got everyone in their starting possitions and made them put the ball away.
Weakness giving up too easily when I wasn't listened to.
Lesson Three
We were told to spend the first 15 mins of the lesson rehearsing Alibaba indipendently. By the end of this time, I felt so irritable and frustrated because the furthest we got was to get into our starting positions, again because no one was paying attention. I understand that everyone was tired because we had to stay until late that evening, but we don't have long to go until the show and every little bit of time we have counts. Also, sitting there for 15 mins watching them play football was a complete waste of my (and the few others that really wanted to try) time.
However, by the end of the lesson we had blocked a lot more of Alibaba and polish The Little Beggar as well, with really good focus, which made me feel happier.
Strength I was the one who got everyone in their starting possitions and made them put the ball away.
Weakness giving up too easily when I wasn't listened to.
March 7, 2012
Lecturer: Alex Summers
Lesson Two
In this lesson, we blocked most of How Abu Hassan Broke Wind with Alex.
It was frustrating because no one would listen to anything that was said and messed around the whole time, which slowed everything down a lot.
I think it was because of the lack of focus that we didn't reach our aim of finishing the story.
I was casted as the Marriage Broker so I worked on trying to make my voice and body completely different to Dinarzad, hunching over and speaking in an elderly voice.
My strength was my unwavering focus throughout the lesson.
Lesson Two
In this lesson, we blocked most of How Abu Hassan Broke Wind with Alex.
It was frustrating because no one would listen to anything that was said and messed around the whole time, which slowed everything down a lot.
I think it was because of the lack of focus that we didn't reach our aim of finishing the story.
I was casted as the Marriage Broker so I worked on trying to make my voice and body completely different to Dinarzad, hunching over and speaking in an elderly voice.
My strength was my unwavering focus throughout the lesson.
March 7, 2012
Lecturer: Gavin Maxwell
Lesson One
In this lesson, we recapped Alibaba, then split up. Most carried on with Alibaba and Arnold, Bradley, Daniella and I went away and recapped what we'd done on the prologue, then started blocking The Warning.
In this rehearsal, I explored the utter desperation Dinarzad would be experiencing as she watched her sister being dragged off by the executioner. I experimented a lot, trying to move freely around the space, getting in between Daniella (Shaharazad) and David (executioner) to push them apart.
I am a great believer in method acting, so I tried to think how I'd feel and the movements I would make if one of my brothers were about to be hurt or killed, which helped a lot.
My strength in this lesson was the amount of thought I put into my character to make her more real to me and the audience.
My target is to try and do this in every rehearsal, and in my own time, by doing some independent research.
Lesson One
In this lesson, we recapped Alibaba, then split up. Most carried on with Alibaba and Arnold, Bradley, Daniella and I went away and recapped what we'd done on the prologue, then started blocking The Warning.
In this rehearsal, I explored the utter desperation Dinarzad would be experiencing as she watched her sister being dragged off by the executioner. I experimented a lot, trying to move freely around the space, getting in between Daniella (Shaharazad) and David (executioner) to push them apart.
I am a great believer in method acting, so I tried to think how I'd feel and the movements I would make if one of my brothers were about to be hurt or killed, which helped a lot.
My strength in this lesson was the amount of thought I put into my character to make her more real to me and the audience.
My target is to try and do this in every rehearsal, and in my own time, by doing some independent research.
March 5, 2012
Lecturer: Gavin Maxwell
Lesson One
Today, we began blocking The Woman Who Wouldn't eat. The rehearsal got better as time went on because the level of focus increased, which makes all the difference.
My biggest challenge was moving round the space by myself, with only a tiny amount of guiding for the market place scene. I didn't mind doing this in class, but I was worried about doing it on stage as I went wrong sometimes and couldn't move as quick I usual.
In the end, we decided it would be better for Teri to guide me, as I needed help getting into the position for the palace.
I enjoyed this rehearsal, and I was proud that I had the chance to do something I wouldn't usually do. I think that is part of the excitement of performing. It didn't matter that it didn't work.
My target is to keep finding challenges for myself in rehearsals.
Lesson One
Today, we began blocking The Woman Who Wouldn't eat. The rehearsal got better as time went on because the level of focus increased, which makes all the difference.
My biggest challenge was moving round the space by myself, with only a tiny amount of guiding for the market place scene. I didn't mind doing this in class, but I was worried about doing it on stage as I went wrong sometimes and couldn't move as quick I usual.
In the end, we decided it would be better for Teri to guide me, as I needed help getting into the position for the palace.
I enjoyed this rehearsal, and I was proud that I had the chance to do something I wouldn't usually do. I think that is part of the excitement of performing. It didn't matter that it didn't work.
My target is to keep finding challenges for myself in rehearsals.
Wednesday, 28 March 2012
February 29, 2012
Lecturer: Gavin Maxwell and Jamie Roberts
Lesson: One and Two combined
We were told to start the lesson independently, warming up ourselves and recapping Alibaba. However, this didn't happen at all, because no one was focused and didn't want to warm up. As a result of this, Alex lead a warm-up, but because it took so long to get everyone up and moving we didn't get any further than this.
This made me feel angry, frustrated and negative, because I was stressed over how little time we had and hated not doing anything. I wanted to rehearse, so seeing a casual game of football taking place really put me in a bad mood.
When the lecturers were bad, I couldn't shake off the negative mood, because the focus was still bad. The usual excitable but disciplined atmosphere wasn't there today.
We carried on working on Alibaba, but we had to go over the same bit (passing the red cloth from person to person) over and over again to get it right, so more focus was lost and I didn't find it at all enjoyable.
I think my target would be to try not to let everyone else's mood affect mine so much.
My strength was staying disciplined throughout the lesson.
Lesson: One and Two combined
We were told to start the lesson independently, warming up ourselves and recapping Alibaba. However, this didn't happen at all, because no one was focused and didn't want to warm up. As a result of this, Alex lead a warm-up, but because it took so long to get everyone up and moving we didn't get any further than this.
This made me feel angry, frustrated and negative, because I was stressed over how little time we had and hated not doing anything. I wanted to rehearse, so seeing a casual game of football taking place really put me in a bad mood.
When the lecturers were bad, I couldn't shake off the negative mood, because the focus was still bad. The usual excitable but disciplined atmosphere wasn't there today.
We carried on working on Alibaba, but we had to go over the same bit (passing the red cloth from person to person) over and over again to get it right, so more focus was lost and I didn't find it at all enjoyable.
I think my target would be to try not to let everyone else's mood affect mine so much.
My strength was staying disciplined throughout the lesson.
February 28, 2012 Homework
Lecturer: Jamie Roberts
Efforts, rhythms, elements and tensions my characters would use.
Dinarzad
Efferts: Wring, dab.
Rhythms: Impact, swing.
Elements: Air, water.
Tensions: Alert, suspense, passionate, tragic.
Rider
Efferts: Slash, punch.
Rhythms: Impact, thrust.
Elements: Fire, earth.
Tensions: Alert, suspense, passionate.
Marriage broker
Efferts: Press, dab.
Rhythms: Imulse, contuous.
Elements: Water.
Tensions: Californian.
Old religious woman
Efferts: Float, dab.
Rhythms: Impact, swing.
Elements: Air, fire.
Tensions: Californian, passionate.
Efforts, rhythms, elements and tensions my characters would use.
Dinarzad
Efferts: Wring, dab.
Rhythms: Impact, swing.
Elements: Air, water.
Tensions: Alert, suspense, passionate, tragic.
Rider
Efferts: Slash, punch.
Rhythms: Impact, thrust.
Elements: Fire, earth.
Tensions: Alert, suspense, passionate.
Marriage broker
Efferts: Press, dab.
Rhythms: Imulse, contuous.
Elements: Water.
Tensions: Californian.
Old religious woman
Efferts: Float, dab.
Rhythms: Impact, swing.
Elements: Air, fire.
Tensions: Californian, passionate.
Tuesday, 13 March 2012
February 28, 2012
Lecturer: Jamie Roberts
Lesson Three
When we worked on Es-sindibad today, I suggested my idea about the sound scape.
I thought this would look a lot more natural and affective than the original idea, and I was thrilled when Jamie agreed with me.
It was a very focused rehearsal and there was a good positive atmosphere.
Lesson Three
When we worked on Es-sindibad today, I suggested my idea about the sound scape.
I thought this would look a lot more natural and affective than the original idea, and I was thrilled when Jamie agreed with me.
It was a very focused rehearsal and there was a good positive atmosphere.
February 28, 2012
Lecturer: Jamie Roberts
Lesson Two
In this rehearsal, we worked on Es-sindibad, but this time, I contributed a valuable piece of feedback to the group.
When the sound scape was introduced, it started too late and all at the same time. I kept thinking that it didn't look right and that something was missing.
I thought that the sounds should start one by one, as the sound is spoken. That way it would build up into one big, loud sound scape, then gradually grow softer.
I think the whole group's target should be focus at all times, but in this rehearsal I struggled to think I my individual strength and weakness.
Lesson Two
In this rehearsal, we worked on Es-sindibad, but this time, I contributed a valuable piece of feedback to the group.
When the sound scape was introduced, it started too late and all at the same time. I kept thinking that it didn't look right and that something was missing.
I thought that the sounds should start one by one, as the sound is spoken. That way it would build up into one big, loud sound scape, then gradually grow softer.
I think the whole group's target should be focus at all times, but in this rehearsal I struggled to think I my individual strength and weakness.
February 28, 2012
Lecturer: Jamie Roberts
Lesson: One
We started by briefly recapping Alibaba, polishing in some places. I found this tiring, but enjoyable as we really needed to practice it and it helped me work out exactly where I should be all the time.
We then did some mask work, in preparation for Es-sindibad.
We were each given a mask and were told to walk in neutral, turning together and looking towards the audience. Then do it again, but this time acting as the mask's character, and again acting the complete opposite.
At first, I found it enjoyable and easy, walking in neutral and sensing when the group would turn. But then, when we had to walk and act like the character of the mask, I found it very difficult. I couldn't keep time with the group any more, and I couldn't show an emotion properly without showing my face.
I think that was my weakness.
My strength was walking with the group by myself and sensing when to turn without any guidance.
Lesson: One
We started by briefly recapping Alibaba, polishing in some places. I found this tiring, but enjoyable as we really needed to practice it and it helped me work out exactly where I should be all the time.
We then did some mask work, in preparation for Es-sindibad.
We were each given a mask and were told to walk in neutral, turning together and looking towards the audience. Then do it again, but this time acting as the mask's character, and again acting the complete opposite.
At first, I found it enjoyable and easy, walking in neutral and sensing when the group would turn. But then, when we had to walk and act like the character of the mask, I found it very difficult. I couldn't keep time with the group any more, and I couldn't show an emotion properly without showing my face.
I think that was my weakness.
My strength was walking with the group by myself and sensing when to turn without any guidance.
February 27, 2012
Lecturer: Gavin Maxwell
Extra Session
After our GCSE's Arnold, Bradley, Daniella and I were asked to stay behind for an extra session, to work on Temptation and The Threat.
This was very helpful as I had some questions about angling that I needed to ask.
I thought I was good at remembering my lines and keeping fully focused.
My target for next lesson is to make sure I am angled perfectly, and my strength was still performing with good energy, despite the fact that I was really tired and didn't have that much energy.
Extra Session
After our GCSE's Arnold, Bradley, Daniella and I were asked to stay behind for an extra session, to work on Temptation and The Threat.
This was very helpful as I had some questions about angling that I needed to ask.
I thought I was good at remembering my lines and keeping fully focused.
My target for next lesson is to make sure I am angled perfectly, and my strength was still performing with good energy, despite the fact that I was really tired and didn't have that much energy.
February 27, 2012
Lecturer: Gavin Maxwell
Lesson One
Watched again what the class had done with The Little Beggar while I was out of the room blocking Temptation and The threat, then carried on blocking it.
I loved what they'd done because there was so much comedy and energy in it, and I could see that they were all really enjoying performing it.
I did get restless because I wasn't needed much, but I loved just watching and giving feedback.
My strength was being respectful to my class members when they acted and my target is to use rehearsal time more productively, always asking myself what I could be doing when I'm on the seats doing nothing.
Lesson One
Watched again what the class had done with The Little Beggar while I was out of the room blocking Temptation and The threat, then carried on blocking it.
I loved what they'd done because there was so much comedy and energy in it, and I could see that they were all really enjoying performing it.
I did get restless because I wasn't needed much, but I loved just watching and giving feedback.
My strength was being respectful to my class members when they acted and my target is to use rehearsal time more productively, always asking myself what I could be doing when I'm on the seats doing nothing.
February 23, 2012
Lecturer: Gavin Maxwell
Lesson Three
We blocked Temptation and performed it this lesson. I experimented with moving around the space freely, making sudden movements and darting about, clutching on to Shaharazad's arm and pushing the executioner away from her. I did this because when I imagined how I'd feel if someone was about to kill my little brothers or put them in any danger right in front of me, I wouldn't just stand there and say "oh don't do that." I would want to jump forward and protect them, so I tried my best to show that in my acting.
I think that was definitely my strength today. My target is to finish and polish the scene, because I know it will be great when its finished, and I can't wait to see the scene really come to life on stage.
Lesson Three
We blocked Temptation and performed it this lesson. I experimented with moving around the space freely, making sudden movements and darting about, clutching on to Shaharazad's arm and pushing the executioner away from her. I did this because when I imagined how I'd feel if someone was about to kill my little brothers or put them in any danger right in front of me, I wouldn't just stand there and say "oh don't do that." I would want to jump forward and protect them, so I tried my best to show that in my acting.
I think that was definitely my strength today. My target is to finish and polish the scene, because I know it will be great when its finished, and I can't wait to see the scene really come to life on stage.
February 23, 2012
Lecturer: Gavin Maxwell
Lesson Two
We blocked The Threat today and showed it to the class. I was very proud at what we'd achieved in this session. It had so much energy and potential to be amazing, and we were all trying really hard.
My strength was showing how desperate and frightened Dinarzad was becoming, through my acting and my target is to keep on making it better.
Lesson Two
We blocked The Threat today and showed it to the class. I was very proud at what we'd achieved in this session. It had so much energy and potential to be amazing, and we were all trying really hard.
My strength was showing how desperate and frightened Dinarzad was becoming, through my acting and my target is to keep on making it better.
February 23, 2012
Lecturer: Gavin Maxwell
Lesson One
In this lesson, we recapped and finished the prologue and carried on blocking Alibaba.
I was happy that we finished the prologue, but I got so frustrated with Alibaba, because it seemed to go on forever and we had to do the same parts over and over. I tried hard to stay positive and focused though, as I know how helpful that is to the directors, us, and our production.
It still lacks energy, but we are slowly but surely progressing.
I want to bring my determination to concentrate into further lessons, and leave behind any negativity I've been feeling about the story. I'm growing to hate it, and I really don't want that, as the story of Alibaba is a major part of our show. I know things will improve soon though.
Lesson One
In this lesson, we recapped and finished the prologue and carried on blocking Alibaba.
I was happy that we finished the prologue, but I got so frustrated with Alibaba, because it seemed to go on forever and we had to do the same parts over and over. I tried hard to stay positive and focused though, as I know how helpful that is to the directors, us, and our production.
It still lacks energy, but we are slowly but surely progressing.
I want to bring my determination to concentrate into further lessons, and leave behind any negativity I've been feeling about the story. I'm growing to hate it, and I really don't want that, as the story of Alibaba is a major part of our show. I know things will improve soon though.
February 22, 2012
Lecturer: Gavin Maxwell
Lesson Two
Today, we continued blocking Alibaba. I loved how we were using the sticks as horses and swords, and making sound affects with them, like we did in the prologue last lesson. I also really like how its all coming together now.
However, it was a very unfocused rehearsal, because we got fidgety and restless, again.
In order to make the show the best it can be, we need to disaplin ourselves, and in some cases each other, a lot more.
That is my, and our target for future rehearsals. Again, I think my strength was contributing good ideas.
Lesson Two
Today, we continued blocking Alibaba. I loved how we were using the sticks as horses and swords, and making sound affects with them, like we did in the prologue last lesson. I also really like how its all coming together now.
However, it was a very unfocused rehearsal, because we got fidgety and restless, again.
In order to make the show the best it can be, we need to disaplin ourselves, and in some cases each other, a lot more.
That is my, and our target for future rehearsals. Again, I think my strength was contributing good ideas.
February 22, 2012
Lecturer: Gavin Maxwell
Lesson One
Today we recapped the prologue and worked on Alibaba. I didn't like working with the sticks at first, as they made my hands itch, and crouching down holding one straight as part of the forest gave me cramp. But now I love having them in the show, because they allow us to be so creative, and I realised how affective they are.
Using the sticks helped me to contribute some really good and useful ideas to the piece, like a certain time we could bang them down etc. I realised I was good at planning sound affects and knew exactly when a good time would be to bang them down. I had such a clear picture in my mind of how I wanted it to sound, and I was delighted when I was allowed to get the class to try out my ideas, because it sounded exactly how I imagined it.
I would say that was definitely my strength in this lesson.
However, I did get bored easily in this lesson, because it was so repetitive. My target is to try and concentrate more at times like these and not switch off.
Lesson One
Today we recapped the prologue and worked on Alibaba. I didn't like working with the sticks at first, as they made my hands itch, and crouching down holding one straight as part of the forest gave me cramp. But now I love having them in the show, because they allow us to be so creative, and I realised how affective they are.
Using the sticks helped me to contribute some really good and useful ideas to the piece, like a certain time we could bang them down etc. I realised I was good at planning sound affects and knew exactly when a good time would be to bang them down. I had such a clear picture in my mind of how I wanted it to sound, and I was delighted when I was allowed to get the class to try out my ideas, because it sounded exactly how I imagined it.
I would say that was definitely my strength in this lesson.
However, I did get bored easily in this lesson, because it was so repetitive. My target is to try and concentrate more at times like these and not switch off.
February 21, 2012
Lecturer: Jamie Roberts
Lesson Two
In this lesson, we started blocking Es-sindibad. I was excited when I found out we would be using masks and recorded voice for this story, and enjoyed watching the scene take form.
I was told to lay on Daniella's lap, like I was listening to the story being told. I found this uncomfortable, but effective.
I think my strength was staying focused and respectful in rehearsal, even though I wasn't doing much. However, I didn't contribute anything today, which I always aim to do.
Lesson Two
In this lesson, we started blocking Es-sindibad. I was excited when I found out we would be using masks and recorded voice for this story, and enjoyed watching the scene take form.
I was told to lay on Daniella's lap, like I was listening to the story being told. I found this uncomfortable, but effective.
I think my strength was staying focused and respectful in rehearsal, even though I wasn't doing much. However, I didn't contribute anything today, which I always aim to do.
February 21, 2012
Lecturer: Jamie Roberts
Lesson One
Today we were trying to create the big bird from Es-sindibad, using our bodies, sticks, oars and material. This didn't really go to plan, because we were all talking at the same time and didn't listen to each other's ideas, which happened last time we tried to do this as well. Then, when we tried creating it the second time, listening to Joe and Teri and not talking, it still didn't work because it didn't really look like a bird, even when we had help.
I don't feel like I should have contributed any ideas to the creation of the bird, because apart from the fact that I didn't have any to put forward, it probably wouldn't have been tried out.
I think my target is to try and make sure everyone gets listened to.
Lesson One
Today we were trying to create the big bird from Es-sindibad, using our bodies, sticks, oars and material. This didn't really go to plan, because we were all talking at the same time and didn't listen to each other's ideas, which happened last time we tried to do this as well. Then, when we tried creating it the second time, listening to Joe and Teri and not talking, it still didn't work because it didn't really look like a bird, even when we had help.
I don't feel like I should have contributed any ideas to the creation of the bird, because apart from the fact that I didn't have any to put forward, it probably wouldn't have been tried out.
I think my target is to try and make sure everyone gets listened to.
February 20, 2012
Lecturer: Gavin Maxwell
Lesson One
Today we started by recapping the first part of the prologue, which we blocked last lesson, showing the people who weren't here what they needed to do. Although it was repetitive, I enjoyed doing it because it helped me remember what we did and also helped with the line-learning process.
We then blocked nearly all of the remaining prologue. I found it exciting creating new material, and loved blocking the script. I feel very happy with the way rehearsals are going so far, the show is looking really well done and professional, although as a class, we really need to be more focused.
I came up with the idea of the ensemble showing the worry and dread in the scene between Shaharazad and the Vizier, with Dinazad in the background listening. When this idea was taken on board, and used, it made me feel very proud because I felt useful to the rehearsal.
I pictured my character (Dinazad) as very inquisitive and child-like in this scene. We decided to have her sitting apart from the other two so the audience's attention isn't drawn away from them, and I imagined her pretending to be concentrating on her sewing, but really listening to the grown-up conversation, the way a child would if she knew she wasn't allowed to know.
I think my strength was contributing ideas and thinking in depth about my character and my target is to keep contributing to rehearsals and speak up if I'm not happy with anything.
Lesson One
Today we started by recapping the first part of the prologue, which we blocked last lesson, showing the people who weren't here what they needed to do. Although it was repetitive, I enjoyed doing it because it helped me remember what we did and also helped with the line-learning process.
We then blocked nearly all of the remaining prologue. I found it exciting creating new material, and loved blocking the script. I feel very happy with the way rehearsals are going so far, the show is looking really well done and professional, although as a class, we really need to be more focused.
I came up with the idea of the ensemble showing the worry and dread in the scene between Shaharazad and the Vizier, with Dinazad in the background listening. When this idea was taken on board, and used, it made me feel very proud because I felt useful to the rehearsal.
I pictured my character (Dinazad) as very inquisitive and child-like in this scene. We decided to have her sitting apart from the other two so the audience's attention isn't drawn away from them, and I imagined her pretending to be concentrating on her sewing, but really listening to the grown-up conversation, the way a child would if she knew she wasn't allowed to know.
I think my strength was contributing ideas and thinking in depth about my character and my target is to keep contributing to rehearsals and speak up if I'm not happy with anything.
February 9, 2012
Lecturer: Gavin Maxwell
Lesson Two
Today, we finished blocking the prologue. We were all so excited about this. It made me feel like we were getting somewhere.
Again, I really enjoyed the rehearsal, because of the positivity and the amazing focus. It went so well.
I love all the creativity coming from everyone, and how it was heard and sometimes used.
This really benefits the production as it makes everyone single person feel happy and involved in the creation of the piece. It also taught me a lot about directing. I learnt that there are lots of different ways of directing a show. There's the traditional "I'm the director, you're the actor" approach, and then there's a style of directing where every person's ideas are listened to, and seriously thought about.
It is such a nice feeling when I suggest an idea which everyone like and then used in the production.
My target is to contribute more.
My strength was my focus in rehearsal.
Lesson Two
Today, we finished blocking the prologue. We were all so excited about this. It made me feel like we were getting somewhere.
Again, I really enjoyed the rehearsal, because of the positivity and the amazing focus. It went so well.
I love all the creativity coming from everyone, and how it was heard and sometimes used.
This really benefits the production as it makes everyone single person feel happy and involved in the creation of the piece. It also taught me a lot about directing. I learnt that there are lots of different ways of directing a show. There's the traditional "I'm the director, you're the actor" approach, and then there's a style of directing where every person's ideas are listened to, and seriously thought about.
It is such a nice feeling when I suggest an idea which everyone like and then used in the production.
My target is to contribute more.
My strength was my focus in rehearsal.
February 9, 2012
Lecturer: Gavin Maxwell
Lesson One
Our objective for today was to block the prologue and evaluate.
When we started blocking the prologue, everyone was really focused, which made it an enjoyable experience.
We didn't get the whole thing finished, but when we came together at the end to evaluate how the lesson went, everyone was very positive.
I was shocked at how many props we have, and I really like the set, because it is different, creative and hands-on. I am so excited to perform this, it looks so great already.
My acting in this lesson was my strength. I performed with energy and good volume, and I had all my lines learnt, which helped me get into character a lot.
I will try to bring this forward into future rehearsals.
Lesson One
Our objective for today was to block the prologue and evaluate.
When we started blocking the prologue, everyone was really focused, which made it an enjoyable experience.
We didn't get the whole thing finished, but when we came together at the end to evaluate how the lesson went, everyone was very positive.
I was shocked at how many props we have, and I really like the set, because it is different, creative and hands-on. I am so excited to perform this, it looks so great already.
My acting in this lesson was my strength. I performed with energy and good volume, and I had all my lines learnt, which helped me get into character a lot.
I will try to bring this forward into future rehearsals.
February 8, 2012
Lecturer: Gillian Hipp
Lesson Two
Today we did a belly dancing workshop with Gillian. I was dreading it, because I was sure I wouldn't be able to do it, but I absolutely loved it! It came so naturally to me and I was really good at it. I'm not used to being good at dance, so it was a big, but pleasant surprise. I felt so free and relaxed and for the first time, I could really appreciate dance and feel that sense of achievement I feel in acting and singing when I do something right and really well. I really want to use it in Arabian Night. I think that would be so amazing. There's a part in Alibaba when Mijana has to dance for Alibaba, his Son and the disguised captain of the 40 thieves, and I think that would be the perfect time for it. She could start by herself, then the ensemble could slowly drift in and dance around her. It could also be used in a wedding celebration, as there are lots of them in the stories.
I think my strength in this workshop (apart from being good at belly dancing) was my complete confidence in myself and what I was doing. I didn't feel nervous, or worry about anything. I just did it.
Lesson Two
Today we did a belly dancing workshop with Gillian. I was dreading it, because I was sure I wouldn't be able to do it, but I absolutely loved it! It came so naturally to me and I was really good at it. I'm not used to being good at dance, so it was a big, but pleasant surprise. I felt so free and relaxed and for the first time, I could really appreciate dance and feel that sense of achievement I feel in acting and singing when I do something right and really well. I really want to use it in Arabian Night. I think that would be so amazing. There's a part in Alibaba when Mijana has to dance for Alibaba, his Son and the disguised captain of the 40 thieves, and I think that would be the perfect time for it. She could start by herself, then the ensemble could slowly drift in and dance around her. It could also be used in a wedding celebration, as there are lots of them in the stories.
I think my strength in this workshop (apart from being good at belly dancing) was my complete confidence in myself and what I was doing. I didn't feel nervous, or worry about anything. I just did it.
February 8, 2012
Lecturer: Gavin Maxwell
Lesson One
In this lesson, the characters in the prologue and Alibaba were casted and we read through Alibaba again and practiced becoming the forest. I found this hard at first, because I couldn't get in to position in time. But when we were given an aural cue, it was easy for me to get right. That was very helpful.
I enjoyed the lesson, but we all got bored and restless, going over the same part over and over again, which made the focus level drop. Although we all understood it had to be done, it was hard to stay positive.
I think we all set ourselves the target of staying positive and not losing focus for next lesson.
My strength was not missing my cue once when I was given it.
Lesson One
In this lesson, the characters in the prologue and Alibaba were casted and we read through Alibaba again and practiced becoming the forest. I found this hard at first, because I couldn't get in to position in time. But when we were given an aural cue, it was easy for me to get right. That was very helpful.
I enjoyed the lesson, but we all got bored and restless, going over the same part over and over again, which made the focus level drop. Although we all understood it had to be done, it was hard to stay positive.
I think we all set ourselves the target of staying positive and not losing focus for next lesson.
My strength was not missing my cue once when I was given it.
February 7, 2012
Lecturer: Gavin Maxwell
Lesson Two
In this lesson, we wrote down a character, an action and a word on postit notes, then put into groups to make a story out of movements with them.
Making up the story was fun, putting them into movements not so fun.
This was because I couldn't work out how I wanted it to look like in my head, so couldn't contribute to the group much. I enjoyed performing it though.
Then we went over the story of Es-sindibad briefly, blocking certain parts and trying out ideas. I wasn't in this, but I really enjoyed observing the rehearsal, watching the story unfold.
I realised I don't really understand the story at all and I need to read through it again.
That is my target, to have it read and understood for the next time we work on it.
I'm not sure what my strength was.
Lesson Two
In this lesson, we wrote down a character, an action and a word on postit notes, then put into groups to make a story out of movements with them.
Making up the story was fun, putting them into movements not so fun.
This was because I couldn't work out how I wanted it to look like in my head, so couldn't contribute to the group much. I enjoyed performing it though.
Then we went over the story of Es-sindibad briefly, blocking certain parts and trying out ideas. I wasn't in this, but I really enjoyed observing the rehearsal, watching the story unfold.
I realised I don't really understand the story at all and I need to read through it again.
That is my target, to have it read and understood for the next time we work on it.
I'm not sure what my strength was.
Thursday, 8 March 2012
February 7, 2012
Lecturer: Jamie Roberts
Lesson One
We started this dance technique class with the usual kind of warm-up, rolling up and down, stretching and doing the leg swings.
Then we went back over dance routines learnt in previous lessons, which I found equally hard, even though I knew them already.
Even when the moves I learnt came back to me, I felt no sense of achievement because I couldn't get it perfect. I need to relax more, which would make my movements flow better and look more fluid.
I was thinking that these routines might be used in the show, because of the Arabian music used.
I wasn't happy about this, because I don't think my performance of them is no where near good enough for show standard.
My strength in this lesson was staying positive, even though I wasn't enjoying doing the routines.
My targets are to keep practicing routines, not panicking about showing what I've done and relaxing more.
Lesson One
We started this dance technique class with the usual kind of warm-up, rolling up and down, stretching and doing the leg swings.
Then we went back over dance routines learnt in previous lessons, which I found equally hard, even though I knew them already.
Even when the moves I learnt came back to me, I felt no sense of achievement because I couldn't get it perfect. I need to relax more, which would make my movements flow better and look more fluid.
I was thinking that these routines might be used in the show, because of the Arabian music used.
I wasn't happy about this, because I don't think my performance of them is no where near good enough for show standard.
My strength in this lesson was staying positive, even though I wasn't enjoying doing the routines.
My targets are to keep practicing routines, not panicking about showing what I've done and relaxing more.
February 2, 2012
Lecturer: Gavin Maxwell
Lesson: Two
Aim: To apply the elemental work to a character from the prologue in Arabian nights and evaluate the success of this.
We spent this lesson blocking the prologue, but with the additional task of trying to put the elements explored last lesson into our characters when we acted.
I found this very difficult, because I was trying to concentrate on making sure I was on the right place on stage and remembering my cues/lines. Also, because we haven't been officially cast yet, I was trying to remain passive and not connect too much to Dinarzad, in case I wasn't casted as her.
However, the lesson was relaxed and focused and I found it an enjoyable experience.
I was also so excited because now that we were actually blocking the script, even if it was just throwing ideas about, it meant the rehearsal process was underway.
I think putting the elements into my character is still a big target for me, but I don't want to start properly doing that until I have been casted.
My strength in this lesson was my focus and concentration, and my ability to remember ques and lines quickly.
Lesson: Two
Aim: To apply the elemental work to a character from the prologue in Arabian nights and evaluate the success of this.
We spent this lesson blocking the prologue, but with the additional task of trying to put the elements explored last lesson into our characters when we acted.
I found this very difficult, because I was trying to concentrate on making sure I was on the right place on stage and remembering my cues/lines. Also, because we haven't been officially cast yet, I was trying to remain passive and not connect too much to Dinarzad, in case I wasn't casted as her.
However, the lesson was relaxed and focused and I found it an enjoyable experience.
I was also so excited because now that we were actually blocking the script, even if it was just throwing ideas about, it meant the rehearsal process was underway.
I think putting the elements into my character is still a big target for me, but I don't want to start properly doing that until I have been casted.
My strength in this lesson was my focus and concentration, and my ability to remember ques and lines quickly.
February 2, 2012
Lecturer: Gavin Maxwell
Lesson One
The objective for this lesson was to define what an element is and explore the idea of taking on the dynamic of an element into the body.
(Element: Something that makes up something else. Earth, fire, air and water make up the world.)
We began with a warm-up that was quite intense and made us really concentrate. First we walked around the space in nutral, running to the sides of the room when we heard "clear the space". Then we explored different ways of moving in the space, for example breaking, then chewing up the space. I found this challenging, but thoroughly enjoyable as I love exercises like these that allow me to improvise and experiment.
The warm-up was very focused on spacial awareness, exploring and playing with the space and interacting with other people within it.
Then, we revisitted Jacques Lecoq, the famous French practitioner, exploring his theory of using the natural elements to help create a character.
We read a quote from Leonardo Di Vinci: "We are like marble, every character is there waiting to be carved out and created".
At the time, I thought I understood it and it really made me think, but when I reflected on it after the lesson, I realised I didn't quite understand it, because I couldn't see how it related to elements. I will ask about that in a future lesson.
When we all understood exactly what an element was, we talked about how we can use elements to describe a character. For example, fire could be used for an angry or energetic character, and air could be someone flighty and delicate.
The King in Arabian Nights could be fire because of his explosive actions and outbursts, or water because he is powerful and strong, but also quite gentle.
I had never thought of characters as natural elements before, and I really enjoyed doing this, because I love learning new approaches on life and acting.
Next, we explored the natural elements further, taking their dinamics into our bodies. We had to show which one we would be if we were happy, sad, in love and angry, all the prime emotions.
It was a very intense and energetic task, which I found challenging at times, but extremely theraputic.
Some elements were a lot harder to portray than others, for example love in earth and sadness in air, but I enjoyed the challenge.
I was very proud of myself this lesson, because I Achieved my on-going target of not being so self-concious. I completely let myself go, taking up lots of space and not worrying about getting in anyone's way or looking awkward.
This was because I was so engrossed in the task, that I completely forgot to be aware of my surroundings.
Our last task of the lesson, for the remaining ten minutes was to get into groups of four and act out the prologue, portray our characters through elements.
This went well, but I was disappointed that we couldn't show the end part as it was very funny. We exadurated things like getting under the bed to sleep and going to the palace with "all possible speed."
I tried to show the elements water and air for Dinarzad.
Water because she is gentle and goes with the flow, but has an inner strength which gets her through this trying time helping Shahrazad.
Air because she is light and flightly, but refreshing like a pleasant breeze.
This was difficult to create with so little time, but the whole lesson was thoroughly enjoyable.
My strength was achieving my earlier target and completely letting myself go in the space.
My target for next lesson is to think about quotes and deffinitions more in the lesson, so I can ask if I don't understand it.
Lesson One
The objective for this lesson was to define what an element is and explore the idea of taking on the dynamic of an element into the body.
(Element: Something that makes up something else. Earth, fire, air and water make up the world.)
We began with a warm-up that was quite intense and made us really concentrate. First we walked around the space in nutral, running to the sides of the room when we heard "clear the space". Then we explored different ways of moving in the space, for example breaking, then chewing up the space. I found this challenging, but thoroughly enjoyable as I love exercises like these that allow me to improvise and experiment.
The warm-up was very focused on spacial awareness, exploring and playing with the space and interacting with other people within it.
Then, we revisitted Jacques Lecoq, the famous French practitioner, exploring his theory of using the natural elements to help create a character.
We read a quote from Leonardo Di Vinci: "We are like marble, every character is there waiting to be carved out and created".
At the time, I thought I understood it and it really made me think, but when I reflected on it after the lesson, I realised I didn't quite understand it, because I couldn't see how it related to elements. I will ask about that in a future lesson.
When we all understood exactly what an element was, we talked about how we can use elements to describe a character. For example, fire could be used for an angry or energetic character, and air could be someone flighty and delicate.
The King in Arabian Nights could be fire because of his explosive actions and outbursts, or water because he is powerful and strong, but also quite gentle.
I had never thought of characters as natural elements before, and I really enjoyed doing this, because I love learning new approaches on life and acting.
Next, we explored the natural elements further, taking their dinamics into our bodies. We had to show which one we would be if we were happy, sad, in love and angry, all the prime emotions.
It was a very intense and energetic task, which I found challenging at times, but extremely theraputic.
Some elements were a lot harder to portray than others, for example love in earth and sadness in air, but I enjoyed the challenge.
I was very proud of myself this lesson, because I Achieved my on-going target of not being so self-concious. I completely let myself go, taking up lots of space and not worrying about getting in anyone's way or looking awkward.
This was because I was so engrossed in the task, that I completely forgot to be aware of my surroundings.
Our last task of the lesson, for the remaining ten minutes was to get into groups of four and act out the prologue, portray our characters through elements.
This went well, but I was disappointed that we couldn't show the end part as it was very funny. We exadurated things like getting under the bed to sleep and going to the palace with "all possible speed."
I tried to show the elements water and air for Dinarzad.
Water because she is gentle and goes with the flow, but has an inner strength which gets her through this trying time helping Shahrazad.
Air because she is light and flightly, but refreshing like a pleasant breeze.
This was difficult to create with so little time, but the whole lesson was thoroughly enjoyable.
My strength was achieving my earlier target and completely letting myself go in the space.
My target for next lesson is to think about quotes and deffinitions more in the lesson, so I can ask if I don't understand it.
February 1, 2012
Lecturer: Jamie Roberts
Lesson One
When we walked into the theatre this morning, we found lines drawn on the floor with chalk, which made me feel confused, but excited for the task ahead. We sat down carefully and were each given a piece of chalk and told to draw our own timeline on the floor, reflecting our journey from the start of our time at Nescot to the finish.
Before I started this, I had to just sit and think about it for a while. I was still quite confused and I needed to remember what I thought and how I felt in previous months.
I talked about my worry of not fitting in and how positive people were, to me and about the course. How someone was always there whenever I needed anything and what a contrast college is from school.
It was very therapeutic and it completely changed my mood. I'm still not clear on why we did it, but it was enjoyable and challenging.
Lesson One
When we walked into the theatre this morning, we found lines drawn on the floor with chalk, which made me feel confused, but excited for the task ahead. We sat down carefully and were each given a piece of chalk and told to draw our own timeline on the floor, reflecting our journey from the start of our time at Nescot to the finish.
Before I started this, I had to just sit and think about it for a while. I was still quite confused and I needed to remember what I thought and how I felt in previous months.
I talked about my worry of not fitting in and how positive people were, to me and about the course. How someone was always there whenever I needed anything and what a contrast college is from school.
It was very therapeutic and it completely changed my mood. I'm still not clear on why we did it, but it was enjoyable and challenging.
January 31, 2012
Lecturer: Jamie Roberts
Lesson Two
After lunch, we sat down and talked about why the earlier exercise didn't work. We shared our ideas with the group, then did the task again, but this time experimenting with one idea at a time.
This was a thousand times better, because we were listening to each other and trying out everything that was suggested. Although at the end of it, we still hadn't managed to create a convincing house.
Afterwards, we had another discussion, comparing this lesson with the last one, evaluating them both. We all found this lesson a lot easier and more enjoyable, because it was less chaotic and everyone with an idea could have their say.
Next, we went into the dance lab for a tutorial, where we looked at each other's blogs, discussing why some were better than others. Although mine wasn't looked at, I felt disappointed that I didn't have everything up to date for the lesson, but proud that I had written something and had notes on each lesson to work with.
My target is definitely to be a lot more organised and continue to work on getting better at still images.
Lesson Two
After lunch, we sat down and talked about why the earlier exercise didn't work. We shared our ideas with the group, then did the task again, but this time experimenting with one idea at a time.
This was a thousand times better, because we were listening to each other and trying out everything that was suggested. Although at the end of it, we still hadn't managed to create a convincing house.
Afterwards, we had another discussion, comparing this lesson with the last one, evaluating them both. We all found this lesson a lot easier and more enjoyable, because it was less chaotic and everyone with an idea could have their say.
Next, we went into the dance lab for a tutorial, where we looked at each other's blogs, discussing why some were better than others. Although mine wasn't looked at, I felt disappointed that I didn't have everything up to date for the lesson, but proud that I had written something and had notes on each lesson to work with.
My target is definitely to be a lot more organised and continue to work on getting better at still images.
January 31, 2012
Lecturer: Jamie Roberts
Lesson One
The lesson started with a lead warm-up with no teacher present. It didn't go at all well because it was unorganised and had no structure to it.
This made it unenjoyable to take part in.
The aim of this lesson was to work as a team together and understand that things don't always have to be complicated.
We were asked to create different images using ourselves and materials such as cloth and netting. We created a cave with just our bodies, then water with a stretchy piece of cloth.
This was very rushed, but successful and the challenge of creating a convincing image in so little time was exciting.
Next, we were given the task of creating a house, first being allowed to talk, then in complete silence.
When we were allowed to talk, it was a complete mess because although we had plenty of time, everyone was rushing to put forward ideas, which meant everyone was speaking at once.
When we did it in silence, it was a little better, although it was hard to communicate our ideas to the group.
Because we didn't have time to explore why this exercise went so wrong before the end of the lesson, we were told to go and think about how the house could be created over our lunch hour and come back with an idea to share with the class.
I don't think I had a strength in this lesson, as I wasn't at all good at our task. I found it really hard, because I just can't seem to picture what I want the image to look like inside my head.
My target is to work on it and get better.
Lesson One
The lesson started with a lead warm-up with no teacher present. It didn't go at all well because it was unorganised and had no structure to it.
This made it unenjoyable to take part in.
The aim of this lesson was to work as a team together and understand that things don't always have to be complicated.
We were asked to create different images using ourselves and materials such as cloth and netting. We created a cave with just our bodies, then water with a stretchy piece of cloth.
This was very rushed, but successful and the challenge of creating a convincing image in so little time was exciting.
Next, we were given the task of creating a house, first being allowed to talk, then in complete silence.
When we were allowed to talk, it was a complete mess because although we had plenty of time, everyone was rushing to put forward ideas, which meant everyone was speaking at once.
When we did it in silence, it was a little better, although it was hard to communicate our ideas to the group.
Because we didn't have time to explore why this exercise went so wrong before the end of the lesson, we were told to go and think about how the house could be created over our lunch hour and come back with an idea to share with the class.
I don't think I had a strength in this lesson, as I wasn't at all good at our task. I found it really hard, because I just can't seem to picture what I want the image to look like inside my head.
My target is to work on it and get better.
January 26, 2012
Lecturer: Gavin Maxwell
Lesson One
Today was the first rehearsal of Arabian Nights.
We began with the beanbag warm-up we had done in previous lessons. We found that we're getting a lot better at it. We can now use 2 beanbags instead of one, communicate with each other silently without calling out names (except for when it was being thrown to or by me) and clap/jump before catching one.
This was rewarding and encouraging for us, as we have been doing it for a while now. It shows that we understand each other better now (which will be essential for a Theatre Company performing together) and our focus is improving.
It encouraged me to want to try harder with everything else as well, because I realised how quickly you can improve on it, with practice.
Next, we began the read-through of the script, discussing the story and staging ideas together.
I never really have staging ideas when we read through, it usually happens for me when we're actually blocking it practically, so I was just trying to memorize the stories in my head, understanding and thinking about them.
I think that was my strength, understanding the stories, considering each one.
My target is to have some kind of input when we block the script.
Lesson One
Today was the first rehearsal of Arabian Nights.
We began with the beanbag warm-up we had done in previous lessons. We found that we're getting a lot better at it. We can now use 2 beanbags instead of one, communicate with each other silently without calling out names (except for when it was being thrown to or by me) and clap/jump before catching one.
This was rewarding and encouraging for us, as we have been doing it for a while now. It shows that we understand each other better now (which will be essential for a Theatre Company performing together) and our focus is improving.
It encouraged me to want to try harder with everything else as well, because I realised how quickly you can improve on it, with practice.
Next, we began the read-through of the script, discussing the story and staging ideas together.
I never really have staging ideas when we read through, it usually happens for me when we're actually blocking it practically, so I was just trying to memorize the stories in my head, understanding and thinking about them.
I think that was my strength, understanding the stories, considering each one.
My target is to have some kind of input when we block the script.
January 25, 2012
Lecturer: Jamie Roberts
Lesson One
We started this lesson by splitting into pairs and setting each other targets.
I found it quite awkward setting a classmate targets like a teacher, but it was fun and interesting.
My targets which were set for me by Arnold were:
. Don't worry or feel self-conscious when dancing
. Keep up to date with blogger
. Don't leave things till the last minute
I found these targets completely fair and agreed with all of them.
We then talked more in detail about our new project, discussing the stories in the script and ideas for props and staging.
Big sheets of paper were then layed out on the floor and we had to write on them what our skills were.
I realised that I actually have more skills than I thought, like musical researching and directing.
This was so when we came to rehearsing for the show, Jamie and Gavin would know what we could and couldn't do, so would know who to choose for a certain scene.
Lesson One
We started this lesson by splitting into pairs and setting each other targets.
I found it quite awkward setting a classmate targets like a teacher, but it was fun and interesting.
My targets which were set for me by Arnold were:
. Don't worry or feel self-conscious when dancing
. Keep up to date with blogger
. Don't leave things till the last minute
I found these targets completely fair and agreed with all of them.
We then talked more in detail about our new project, discussing the stories in the script and ideas for props and staging.
Big sheets of paper were then layed out on the floor and we had to write on them what our skills were.
I realised that I actually have more skills than I thought, like musical researching and directing.
This was so when we came to rehearsing for the show, Jamie and Gavin would know what we could and couldn't do, so would know who to choose for a certain scene.
January 24, 2012
Lecturer: Gavin Maxwell and Jamie Roberts
Lesson One
Today we found out what our FMP was going to be.
When I found out what it was, I felt unsure and didn't feel excited by it immediately. I was glad we were no longer doing Clued Up, but I wasn't sure if I liked the idea of Arabian Nights.
However, I learnt from our last project to trust the director's decision and I felt confident that I would love it and we would block the script in good time.
I started to feel really excited about performing it when we talked about it together, discussing the storyline, although I felt slightly uncomfortable with exploring a different culture because I'm not really familiar with it.
We then did some dance technique, revisiting sequences learnt in previous lessons.
My target is to work towards turning the right number of degrees in the right direction, so I ended up in the same place as everyone else. We could do this by someone calling me, or making a sound for me to face towards.
Lesson One
Today we found out what our FMP was going to be.
When I found out what it was, I felt unsure and didn't feel excited by it immediately. I was glad we were no longer doing Clued Up, but I wasn't sure if I liked the idea of Arabian Nights.
However, I learnt from our last project to trust the director's decision and I felt confident that I would love it and we would block the script in good time.
I started to feel really excited about performing it when we talked about it together, discussing the storyline, although I felt slightly uncomfortable with exploring a different culture because I'm not really familiar with it.
We then did some dance technique, revisiting sequences learnt in previous lessons.
My target is to work towards turning the right number of degrees in the right direction, so I ended up in the same place as everyone else. We could do this by someone calling me, or making a sound for me to face towards.
Tuesday, 28 February 2012
The Melancholy Death of Oyster Boy
He proposed in the dunes,
they were wed by the sea,
Their nine-day-long honeymoon
was on the isle of Capri.
For their supper they had one spectacular dish-
a simmering stew of molluscs and fish.
And while he savoured the broth,
her bride's heart made a wish.
That wish came true-she gave birth to a baby.
But was this little one human
Well, maybe.
Ten fingers, ten toes,
he had plumbing and sight.
He could hear, he could feel,
but normal?
Not quite.
This unnatural birth, this canker, this blight,
was the start and the end and the sum of their plight.
She railed at the doctor:
"He cannot be mine.
He smells of the ocean, of seaweed and brine."
"You should count yourself lucky, for only last week,
I treated a girl with three ears and a beak.
That your son is half oyster
you cannot blame me.
... have you ever considered, by chance,
a small home by the sea?"
Not knowing what to name him,
they just called him Sam,
or sometimes,
"that thing that looks like a clam"
Everyone wondered, but no one could tell,
When would young Oyster Boy come out of his shell?
When the Thompson quadruplets espied him one day,
they called him a bivalve and ran quickly away.
One spring afternoon,
Sam was left in the rain.
At the south-western corner of Seaview and Main,
he watched the rain water as it swirled
down the drain.
His mom on the freeway
in the breakdown lane
was pounding the dashboard-
she couldn't contain
the ever-rising grief,
frustration,
and pain.
"Really, sweetheart," she said
"I don't mean to make fun,
but something smells fishy
and I think it's our son.
I don't like to say this, but it must be said,
you're blaming our son for your problems in bed."
He tried salves, he tried ointments
that turned everything red.
He tried potions and lotions
and tincture of lead.
He ached and he itched and he twitched and he bled.
The doctor diagnosed,
"I can't quite be sure,
but the cause of the problem may also be the cure.
They say oysters improve your sexual powers.
Perhaps eating your son
would help you do it for hours!"
He came on tiptoe,
he came on the sly,
sweat on his forehead,
and on his lips-a lie.
"Son, are you happy? I don't mean to pry,
but do you dream of Heaven?
Have you ever wanted to die?
Sam blinked his eye twice.
but made no reply.
Dad fingered his knife and loosened his tie.
As he picked up his son,
Sam dripped on his coat.
With the shell to his lips,
Sam slipped down his throat.
They buried him quickly in the sand by the sea
comsighed a prayer, wept a tear-
and they were back home by three.
A cross of grey driftwood marked Oyster Boy's grave.
Words writ in the sand
promised Jesus would save.
But his memory was lost with one high-tide wave.
they were wed by the sea,
Their nine-day-long honeymoon
was on the isle of Capri.
For their supper they had one spectacular dish-
a simmering stew of molluscs and fish.
And while he savoured the broth,
her bride's heart made a wish.
That wish came true-she gave birth to a baby.
But was this little one human
Well, maybe.
Ten fingers, ten toes,
he had plumbing and sight.
He could hear, he could feel,
but normal?
Not quite.
This unnatural birth, this canker, this blight,
was the start and the end and the sum of their plight.
She railed at the doctor:
"He cannot be mine.
He smells of the ocean, of seaweed and brine."
"You should count yourself lucky, for only last week,
I treated a girl with three ears and a beak.
That your son is half oyster
you cannot blame me.
... have you ever considered, by chance,
a small home by the sea?"
Not knowing what to name him,
they just called him Sam,
or sometimes,
"that thing that looks like a clam"
Everyone wondered, but no one could tell,
When would young Oyster Boy come out of his shell?
When the Thompson quadruplets espied him one day,
they called him a bivalve and ran quickly away.
One spring afternoon,
Sam was left in the rain.
At the south-western corner of Seaview and Main,
he watched the rain water as it swirled
down the drain.
His mom on the freeway
in the breakdown lane
was pounding the dashboard-
she couldn't contain
the ever-rising grief,
frustration,
and pain.
"Really, sweetheart," she said
"I don't mean to make fun,
but something smells fishy
and I think it's our son.
I don't like to say this, but it must be said,
you're blaming our son for your problems in bed."
He tried salves, he tried ointments
that turned everything red.
He tried potions and lotions
and tincture of lead.
He ached and he itched and he twitched and he bled.
The doctor diagnosed,
"I can't quite be sure,
but the cause of the problem may also be the cure.
They say oysters improve your sexual powers.
Perhaps eating your son
would help you do it for hours!"
He came on tiptoe,
he came on the sly,
sweat on his forehead,
and on his lips-a lie.
"Son, are you happy? I don't mean to pry,
but do you dream of Heaven?
Have you ever wanted to die?
Sam blinked his eye twice.
but made no reply.
Dad fingered his knife and loosened his tie.
As he picked up his son,
Sam dripped on his coat.
With the shell to his lips,
Sam slipped down his throat.
They buried him quickly in the sand by the sea
comsighed a prayer, wept a tear-
and they were back home by three.
A cross of grey driftwood marked Oyster Boy's grave.
Words writ in the sand
promised Jesus would save.
But his memory was lost with one high-tide wave.
January 23, 2012
Lecturer: Gavin Maxwell
Lesson One
We began by doing a focusing warm-up. We stood in a circle and gave each person an animal repeated them over and over again, trying to follow the same pattern, while beanbags were being thrown.
I found this difficult, as I couldn't remember the two patterns at the same time. I think it would take a lot of practice to get better.
We then continued exploring story telling. We were given a poem by Tim Burton called The Melencoly Death of Oisterboy and then given the task of acting it out in small groups.
It was successful, but a little messy. If we had more time, we probably could've made it more presentable.
I completely participated in this exercise, contributing ideas and helping with staging and spoke my lines without a script.
I think my target for future lessons is to continue doing this.
Lesson One
We began by doing a focusing warm-up. We stood in a circle and gave each person an animal repeated them over and over again, trying to follow the same pattern, while beanbags were being thrown.
I found this difficult, as I couldn't remember the two patterns at the same time. I think it would take a lot of practice to get better.
We then continued exploring story telling. We were given a poem by Tim Burton called The Melencoly Death of Oisterboy and then given the task of acting it out in small groups.
It was successful, but a little messy. If we had more time, we probably could've made it more presentable.
I completely participated in this exercise, contributing ideas and helping with staging and spoke my lines without a script.
I think my target for future lessons is to continue doing this.
January 19, 2012
Lecturer: Gavin Maxwell
Lesson Three
We started this session exploring sound scapes. We were split into groups and were given a sound scape to make, for the other groups to guess what they were. We had to make the sound of a sausage frying in a pan. We did this quite well and the class were able to guess what it was, which made me feel proud that we did it right.
I loved working with sound scapes, because I like showing others how I understand what is happening on stage and television just by listening to it, and creating them myself.
We then read Tall Tales, which was a section from the Terrible Infants and started to stage it.
I didn't enjoy this so much, because I didn't connect with the story.
I think my strength was creating the sound scapes, and my target for the next lesson is to get more involved in blocking a piece of text.
Lesson Three
We started this session exploring sound scapes. We were split into groups and were given a sound scape to make, for the other groups to guess what they were. We had to make the sound of a sausage frying in a pan. We did this quite well and the class were able to guess what it was, which made me feel proud that we did it right.
I loved working with sound scapes, because I like showing others how I understand what is happening on stage and television just by listening to it, and creating them myself.
We then read Tall Tales, which was a section from the Terrible Infants and started to stage it.
I didn't enjoy this so much, because I didn't connect with the story.
I think my strength was creating the sound scapes, and my target for the next lesson is to get more involved in blocking a piece of text.
Monday, 27 February 2012
January 19, 2012
Lecturer: Gavin Maxwell
Lesson Two
In this lesson, we carried on looking at story telling. We were given a story called The Bird, the Mouse and the Sausage, which was about a bird, mouse and sausage who became friends and lived together, but couldn't be satisfied with what they had and ended up dying because of it.
After we had read and analysed the story, we were put into groups to recreate it.
I actually found this really hard, because we all had such different ideas of ways to do it in our heads and I found it hard to go along with the idea that was chosen by the group of someone just standing there reading the script and the others acting like the characters from the story, because I didn't agree with it at all.
I wanted to show our own interpretations of the characters as people, and all read the script, which was quite similar to what another group did.
In the end, we didn't get to show it because one of our group members had to leave the room due to illness.
I think my strength in this lesson was having lots of good ideas and knowing when I was doing something wrong which didn't really show what we could do as actors, and my weakness was not trying hard enough for my ideas to be taken into account and tried, even if they didn't work.
Lesson Two
In this lesson, we carried on looking at story telling. We were given a story called The Bird, the Mouse and the Sausage, which was about a bird, mouse and sausage who became friends and lived together, but couldn't be satisfied with what they had and ended up dying because of it.
After we had read and analysed the story, we were put into groups to recreate it.
I actually found this really hard, because we all had such different ideas of ways to do it in our heads and I found it hard to go along with the idea that was chosen by the group of someone just standing there reading the script and the others acting like the characters from the story, because I didn't agree with it at all.
I wanted to show our own interpretations of the characters as people, and all read the script, which was quite similar to what another group did.
In the end, we didn't get to show it because one of our group members had to leave the room due to illness.
I think my strength in this lesson was having lots of good ideas and knowing when I was doing something wrong which didn't really show what we could do as actors, and my weakness was not trying hard enough for my ideas to be taken into account and tried, even if they didn't work.
January 19, 2012
Lecturer: Gavin Maxwell
Lesson One
After the warm-up, we carried on rehearsing the Pinter script we were given the week before when we started our story telling work. Arnold and I concentrated on perfecting the tone of our voices and the amount of expression we put into certain words to sound threatening and serious. We didn't perform the whole script like everybody else, but we didn't mind because we felt that the work we had produced was very good quality, and we were off the book, unlike most of the other groups.
When we performed it to the class, it went very well, and we got some unplanned laughter from the audience, which surprised me. I didn't think we had done anything amusing. However, the ending, when Arnold attacked David (the man in the chair) went a little too far. I felt sad and disappointed when this happened because I felt it ruined our performance and caused the audience to criticise more than I'd like.
My strength in this lesson was performing with confidence and emotion, without a script and aware at all times what my character's intentions and objectives were. However, I think we could've focused more on the ending.
My target for next lesson is to make sure I spend an equal amount of time on each part of the script so that it doesn't look rushed in some places.
Lesson One
After the warm-up, we carried on rehearsing the Pinter script we were given the week before when we started our story telling work. Arnold and I concentrated on perfecting the tone of our voices and the amount of expression we put into certain words to sound threatening and serious. We didn't perform the whole script like everybody else, but we didn't mind because we felt that the work we had produced was very good quality, and we were off the book, unlike most of the other groups.
When we performed it to the class, it went very well, and we got some unplanned laughter from the audience, which surprised me. I didn't think we had done anything amusing. However, the ending, when Arnold attacked David (the man in the chair) went a little too far. I felt sad and disappointed when this happened because I felt it ruined our performance and caused the audience to criticise more than I'd like.
My strength in this lesson was performing with confidence and emotion, without a script and aware at all times what my character's intentions and objectives were. However, I think we could've focused more on the ending.
My target for next lesson is to make sure I spend an equal amount of time on each part of the script so that it doesn't look rushed in some places.
January 17, 2012
Lecturer: Jamie Roberts.
Lesson Two
After watching and analysing the dance clips last lesson, we were split into small groups and were asked to create a sequence based on one of the pieces. Charlie, Bradley and I decided to work with Yesterday which was choreographed by Yasmin Vardimon in 2008.
We started the recreating process by looking at each other's notes and deciding from those which piece to work on. Then we came up with the idea of talking about Performing Arts instead of cancer (which was what the original piece was based on) and started to create a script for me to say, as I was playing the narrator. As I thought of lines to say, Charlie and Bradley choreographed moves to match which I helped with by working out how we could include a narrator, as the original piece was only performed by two people. When it was finished, I was very proud of it, and couldn't wait to perform it.
The performance of it went very well and nothing went wrong. The only slight hitch was having to do it again because we didn't take our socks off. This was because we felt we had more fluidity when we slid across the floor.
I think my strength was creating the script for our choreography, and making sure everyone had lots to do. My target if we ever do this again would be to step out of my comfort-zone a bit more, because I was the narrator because I knew I was good with words. Next time, I should try and be someone who has to do the most dancing, to challenge myself.
I think this could be very useful in the future! I have taken from this the experience of completely changing something I recreated, rather than keeping it the same, so in future I will remember that just because you are recreating something, it doesn't mean you can't put your own touch on it.
http://www.youtube.com/watch?v=BJwLtXJbq8A&feature=youtu.be
Lesson Two
After watching and analysing the dance clips last lesson, we were split into small groups and were asked to create a sequence based on one of the pieces. Charlie, Bradley and I decided to work with Yesterday which was choreographed by Yasmin Vardimon in 2008.
We started the recreating process by looking at each other's notes and deciding from those which piece to work on. Then we came up with the idea of talking about Performing Arts instead of cancer (which was what the original piece was based on) and started to create a script for me to say, as I was playing the narrator. As I thought of lines to say, Charlie and Bradley choreographed moves to match which I helped with by working out how we could include a narrator, as the original piece was only performed by two people. When it was finished, I was very proud of it, and couldn't wait to perform it.
The performance of it went very well and nothing went wrong. The only slight hitch was having to do it again because we didn't take our socks off. This was because we felt we had more fluidity when we slid across the floor.
I think my strength was creating the script for our choreography, and making sure everyone had lots to do. My target if we ever do this again would be to step out of my comfort-zone a bit more, because I was the narrator because I knew I was good with words. Next time, I should try and be someone who has to do the most dancing, to challenge myself.
I think this could be very useful in the future! I have taken from this the experience of completely changing something I recreated, rather than keeping it the same, so in future I will remember that just because you are recreating something, it doesn't mean you can't put your own touch on it.
http://www.youtube.com/watch?v=BJwLtXJbq8A&feature=youtu.be
Dance clips analysis
Action: What the body does.
Stepping, transferring body weight, stillness.
Dynamics: How the body moves.
Tension, speed flow, energy, rhythm and phrasing.
Space: Where the body moves.
Aural Setting: Set,
Set, music, props.
Relationships: With whom or what the body moves with.
1. Yesterday. Choreographed by Yasmin Vardimon in 2008. Isalis Choreographer. Taken from the piece Lullaby.
Action:
Dynamics: Stakato, rough, attack.
Space: Always close together, dynamic changes move apart but always come together,
Relationships: Man and woman are fighting, both have a relationship with the pillow, he has a relationship with the audience, she acknowledged the audience at the end like she was a prop.
Aural Setting: Music and lighting at the beginning, no other music necessary, gun, voices, dim lighting, no light changes, medical lighting, words he says explains his movements.
2. The Car Man. Choreographed by Matthew Bourne in 2000/2001. Does new versions of old ballets.
Action:
Dynamics: Fluid and gentle, men masculine movements, tense biceps, clenched fists, hitting and pushing, holding objects, angular, women dance soft and burletic.
Space: 2 dancers on the floor, the rest stand up.
Relationships: Interact with the cars and each other like they're working, Angelo isn't liked by many men, shy in front of the women, men aren't worried about the boss, only Angelo seems nervous, men and women very aware of each other, interact with each other.
Aural Setting: Music, sign, car, tires, desk, fag, watch, boss rings the bell, men laugh, costume change, steam, cash, towels, sign saying "man wanted) women setting tables, music matches what they're doing, drum roll sound represents them pushing, garage sounds in the music.
3. Rooster. Choreographed by Christopher Bruce in 1987. Music by Rolling Stones.
Action: Struts like a rooster, dances like a chicken, very cool, rock and roll, lots of leaps, men sway slowly, men focus on their legs, women focus on their arms.
Dynamics: Stiff torso, long legs, graceful burletic moves, fluid motions, also very stakato.
Space: Open space, move like they're on a street.
Relationships: Men interact with each other a bit, , watch each other, very aware of the girl, interact with her.
Aural Setting: Music all the way through, no set, long strip of faint light.
Stepping, transferring body weight, stillness.
Dynamics: How the body moves.
Tension, speed flow, energy, rhythm and phrasing.
Space: Where the body moves.
Aural Setting: Set,
Set, music, props.
Relationships: With whom or what the body moves with.
1. Yesterday. Choreographed by Yasmin Vardimon in 2008. Isalis Choreographer. Taken from the piece Lullaby.
Action:
Dynamics: Stakato, rough, attack.
Space: Always close together, dynamic changes move apart but always come together,
Relationships: Man and woman are fighting, both have a relationship with the pillow, he has a relationship with the audience, she acknowledged the audience at the end like she was a prop.
Aural Setting: Music and lighting at the beginning, no other music necessary, gun, voices, dim lighting, no light changes, medical lighting, words he says explains his movements.
2. The Car Man. Choreographed by Matthew Bourne in 2000/2001. Does new versions of old ballets.
Action:
Dynamics: Fluid and gentle, men masculine movements, tense biceps, clenched fists, hitting and pushing, holding objects, angular, women dance soft and burletic.
Space: 2 dancers on the floor, the rest stand up.
Relationships: Interact with the cars and each other like they're working, Angelo isn't liked by many men, shy in front of the women, men aren't worried about the boss, only Angelo seems nervous, men and women very aware of each other, interact with each other.
Aural Setting: Music, sign, car, tires, desk, fag, watch, boss rings the bell, men laugh, costume change, steam, cash, towels, sign saying "man wanted) women setting tables, music matches what they're doing, drum roll sound represents them pushing, garage sounds in the music.
3. Rooster. Choreographed by Christopher Bruce in 1987. Music by Rolling Stones.
Action: Struts like a rooster, dances like a chicken, very cool, rock and roll, lots of leaps, men sway slowly, men focus on their legs, women focus on their arms.
Dynamics: Stiff torso, long legs, graceful burletic moves, fluid motions, also very stakato.
Space: Open space, move like they're on a street.
Relationships: Men interact with each other a bit, , watch each other, very aware of the girl, interact with her.
Aural Setting: Music all the way through, no set, long strip of faint light.
January 17, 2012
Lecturer: Jamie Roberts.
Lesson One
In this lesson, we analysed three dance clips called Yesterday, The Car Man and Rooster.
We looked at action, dynamics, relationships, space and aural setting.
I found this quite difficult as I was rushing to write everything down.
This was a useful exercise because by having to write things under all the different headings, it forced me to analyse the dance routines carefully and really think about it. This helped me to understand them better.
I think the whole exercise was my weakness because I need to work on analysing and understanding dance. I didn't really feel like I had a strength in this lesson, because there was nothing I did that made me feel proud of myself.
Lesson One
In this lesson, we analysed three dance clips called Yesterday, The Car Man and Rooster.
We looked at action, dynamics, relationships, space and aural setting.
I found this quite difficult as I was rushing to write everything down.
This was a useful exercise because by having to write things under all the different headings, it forced me to analyse the dance routines carefully and really think about it. This helped me to understand them better.
I think the whole exercise was my weakness because I need to work on analysing and understanding dance. I didn't really feel like I had a strength in this lesson, because there was nothing I did that made me feel proud of myself.
January 16, 2012
Lecturer: Gavin Maxwell
Lesson One
After our warm-up today, we read The New World Order, by Harold Pinter together. We talked about the intentions and objectives of the two characters and how to show this when we are acting. I found the script funny and enjoyable and looked forward to working with it.
We were then split into groups of two and started to rehearse performing it. I played Dez, who Arnold and I both decided was the boss of the two and started trying to scare the man in the chair by using my voice to threaten him. I spoke quietly and menacingly and layed a hand on his shoulder every now and then, circling him as I spoke.
My strength in this lesson was reading each line and knowing how it should be said. I think I need to work on showing my character's intentions and objectives when I act.
Lesson One
After our warm-up today, we read The New World Order, by Harold Pinter together. We talked about the intentions and objectives of the two characters and how to show this when we are acting. I found the script funny and enjoyable and looked forward to working with it.
We were then split into groups of two and started to rehearse performing it. I played Dez, who Arnold and I both decided was the boss of the two and started trying to scare the man in the chair by using my voice to threaten him. I spoke quietly and menacingly and layed a hand on his shoulder every now and then, circling him as I spoke.
My strength in this lesson was reading each line and knowing how it should be said. I think I need to work on showing my character's intentions and objectives when I act.
January 12, 2012
Lecturer: Gavin Maxwell
Lesson Three
When we came back into the Theatre after lunch, we were surprised to find the room set out completely different. There were chairs scattered everywhere and under each chair was a mug of black coffee. When I listened closely, I heard accordion music playing softly in the background, which instantly made me think of France or Italy. This made me very curious as to what was going to happen next. I was impatient for the warm-up to end and couldn't wait to get started on this next improvisation.
When the warm-up had finished, we had to sit in silence and imagine we were in a cafe in France, sitting at a small table outside with people bustling past. We had to imagine the cafe and get a really clear picture in our heads of our surroundings, the place, the people, the sounds and smells etc. I found this part really difficult at first because I just couldn't picture it for some reason. Then, when we moved on to thinking about something else, I subconsciously started imagining it on my own and then had a vivid picture of it in my head.
We were then asked to pick up the cup of coffee under our chair and explore it. Explore the feel of the cup and the handle, the smell of the coffee inside it, how heavy or light it felt in our hand. I found this strange, wondering why it was important to know how heavy the cup was. Now, looking back, I understand it was to help create the scene in our heads in the same way as when you play a character, you need to know every insignificant detail about them.
We were then asked to sip from the cup. This filled me with dread as I absolutely detest coffee, especially black coffee. But, I did it anyway, which made me feel very proud of myself, even though I nearly threw up.
I thought the exercise would be over after this point, but it wasn't. We were given a square of dark chocolate and told to eat it, thinking about how it tasted and felt in our mouths. Again, I tried it, knowing I hated dark chocolate. But what surprised me was that when I drank the coffee and ate the chocolate, I reacted how I would've if I really was in a French cafe. (Not expressing my dislike over it, swallowing it and trying to smile in case a waiter was watching)
Afterwards, we evaluated it as a class and found that everyone could picture the cafe by the end of it, and were all deeply immersed in the exercise.
I think my strength in this lesson was eating and drinking things I knew I hated for the purpose of the exercise so I could participate fully in it. My target is not to come out of roll if this happens because I let it effect my concentration.
Lesson Three
When we came back into the Theatre after lunch, we were surprised to find the room set out completely different. There were chairs scattered everywhere and under each chair was a mug of black coffee. When I listened closely, I heard accordion music playing softly in the background, which instantly made me think of France or Italy. This made me very curious as to what was going to happen next. I was impatient for the warm-up to end and couldn't wait to get started on this next improvisation.
When the warm-up had finished, we had to sit in silence and imagine we were in a cafe in France, sitting at a small table outside with people bustling past. We had to imagine the cafe and get a really clear picture in our heads of our surroundings, the place, the people, the sounds and smells etc. I found this part really difficult at first because I just couldn't picture it for some reason. Then, when we moved on to thinking about something else, I subconsciously started imagining it on my own and then had a vivid picture of it in my head.
We were then asked to pick up the cup of coffee under our chair and explore it. Explore the feel of the cup and the handle, the smell of the coffee inside it, how heavy or light it felt in our hand. I found this strange, wondering why it was important to know how heavy the cup was. Now, looking back, I understand it was to help create the scene in our heads in the same way as when you play a character, you need to know every insignificant detail about them.
We were then asked to sip from the cup. This filled me with dread as I absolutely detest coffee, especially black coffee. But, I did it anyway, which made me feel very proud of myself, even though I nearly threw up.
I thought the exercise would be over after this point, but it wasn't. We were given a square of dark chocolate and told to eat it, thinking about how it tasted and felt in our mouths. Again, I tried it, knowing I hated dark chocolate. But what surprised me was that when I drank the coffee and ate the chocolate, I reacted how I would've if I really was in a French cafe. (Not expressing my dislike over it, swallowing it and trying to smile in case a waiter was watching)
Afterwards, we evaluated it as a class and found that everyone could picture the cafe by the end of it, and were all deeply immersed in the exercise.
I think my strength in this lesson was eating and drinking things I knew I hated for the purpose of the exercise so I could participate fully in it. My target is not to come out of roll if this happens because I let it effect my concentration.
January 12, 2012
Lecturer: Gavin Maxwell
Lesson two
In this lesson, we were doing improvisation exercises to do with the seven states of tension.
In the first exercise, we had to pull imaginary objects out an imaginary box, saying the first thing that came in to our heads. I thought this would be really easy when I watched other people doing it, but it was actually really difficult because in the moment I couldn't think of anything at all.
Next, we took it in turns to take an envelope and open it in front of the class. We had to read what was inside and react instantly without stopping to think of what to do. I found this exciting and fun. In my envelope, the slip of paper just said: "You have just been accepted for a job you really wanted."
I jumped into the air with my mouth wide open like I was screaming, then whipped out my phone and pretended to ring my mum. I got a laugh from the audience because of my shocked and delighted facial expression, which was exhilarating and inspired me to keep up the act.
My strength in this lesson was my ability to improvise on the spot and stay in character.
However, because I was enjoying the exercises so much, I sometimes forgot we were doing it for a purpose, so if we do this sort of thing again, I need to keep asking
myself, "what am I learning from this?"
Lesson two
In this lesson, we were doing improvisation exercises to do with the seven states of tension.
In the first exercise, we had to pull imaginary objects out an imaginary box, saying the first thing that came in to our heads. I thought this would be really easy when I watched other people doing it, but it was actually really difficult because in the moment I couldn't think of anything at all.
Next, we took it in turns to take an envelope and open it in front of the class. We had to read what was inside and react instantly without stopping to think of what to do. I found this exciting and fun. In my envelope, the slip of paper just said: "You have just been accepted for a job you really wanted."
I jumped into the air with my mouth wide open like I was screaming, then whipped out my phone and pretended to ring my mum. I got a laugh from the audience because of my shocked and delighted facial expression, which was exhilarating and inspired me to keep up the act.
My strength in this lesson was my ability to improvise on the spot and stay in character.
However, because I was enjoying the exercises so much, I sometimes forgot we were doing it for a purpose, so if we do this sort of thing again, I need to keep asking
myself, "what am I learning from this?"
January 12, 2012
Lecturer: Gavin Maxwell
Lesson One
Today, we began with an energetic warm-up, which I found tiring, but enjoyable. Then we watched a power point about the Stanislavski system. At first, I found this quite hard to understand, as I learn in a more practical way, but when it was explained to me again, I started to get the hang of it. When we had had a discussion about this and it was clear that we all understood it, we watched a clip of This Is England. This was to show us an example of truthful acting. It was truthful because the actor completely believed in what he was doing and this rubbed off on the audience. He was working off relaxation, an element of the Stanislavski system.
There were parts of the clip where I switched off because of the calm atmosphere the actors created (and also because I couldn't quite hear it) but overall, I enjoyed watching it.
However the discussion we had about the clip aftwards was a lot more beneficial to me, because we could talk about everything that wasn't quite clear.
My strength in this lesson was my ability to understand things relatively quickly, and my weakness was my concentration, because at times it wasn't as good as it should have been.
Lesson One
Today, we began with an energetic warm-up, which I found tiring, but enjoyable. Then we watched a power point about the Stanislavski system. At first, I found this quite hard to understand, as I learn in a more practical way, but when it was explained to me again, I started to get the hang of it. When we had had a discussion about this and it was clear that we all understood it, we watched a clip of This Is England. This was to show us an example of truthful acting. It was truthful because the actor completely believed in what he was doing and this rubbed off on the audience. He was working off relaxation, an element of the Stanislavski system.
There were parts of the clip where I switched off because of the calm atmosphere the actors created (and also because I couldn't quite hear it) but overall, I enjoyed watching it.
However the discussion we had about the clip aftwards was a lot more beneficial to me, because we could talk about everything that wasn't quite clear.
My strength in this lesson was my ability to understand things relatively quickly, and my weakness was my concentration, because at times it wasn't as good as it should have been.
January 11, 2012
Lecturer: Jamie Roberts
Lesson 2
Today we looked at transposing text into movement.
We read a poem called DULCE ET DECORUM EST, then analysed it together. We talked about which words and phrases stood out and affected us most and the meaning behind it. We then individually selected eight words/phrases from the poem that we found particularly emotive and inspiring and created a movement for each one to show our own interpretation of it.
I liked the poem a lot, and thoroughly enjoyed talking about it, as I used to enjoy English and I write poetry myself.
By the end of the lesson, I felt very connected with the poem and the characters in it, which made it easier to become the soldier when I moved. It was so emotional and heart-wrenching, that as I was creating movements from the text and thinking like the soldier, I began to feel more and more vulnerable because I was showing through dance the dread and the fear in the poem.
I think my strength was understanding the character and expressing emotion through dance. I was also proud of my creative input when analysing the poem.
My weakness was my worry/negativity about creating a dance sequence myself, as I automatically thought I wouldn't be able to do it.
I will try and work on my confidence in these lessons.
My target for next lesson would definitely be to use the surrounding space more, as I didn't really move around a lot in my movement sequence.
Lesson 2
Today we looked at transposing text into movement.
We read a poem called DULCE ET DECORUM EST, then analysed it together. We talked about which words and phrases stood out and affected us most and the meaning behind it. We then individually selected eight words/phrases from the poem that we found particularly emotive and inspiring and created a movement for each one to show our own interpretation of it.
I liked the poem a lot, and thoroughly enjoyed talking about it, as I used to enjoy English and I write poetry myself.
By the end of the lesson, I felt very connected with the poem and the characters in it, which made it easier to become the soldier when I moved. It was so emotional and heart-wrenching, that as I was creating movements from the text and thinking like the soldier, I began to feel more and more vulnerable because I was showing through dance the dread and the fear in the poem.
I think my strength was understanding the character and expressing emotion through dance. I was also proud of my creative input when analysing the poem.
My weakness was my worry/negativity about creating a dance sequence myself, as I automatically thought I wouldn't be able to do it.
I will try and work on my confidence in these lessons.
My target for next lesson would definitely be to use the surrounding space more, as I didn't really move around a lot in my movement sequence.
Thursday, 23 February 2012
January 11, 2012
Lecturer: Jamie Roberts
Lesson 1
This lesson was a dance technique class. We did learn a new routine, but it was mainly learning the stretches and exercises needed to improve the technique of our dance. I enjoy these classes more than the ones where we learn new routines, because I find it easier to keep up.
My strength in this class was doing the stretches/exercises correctly, which I struggle with, and my weakness was fitting moves together to make a sequence in the time it should be instead of slow motion.
Lesson 1
This lesson was a dance technique class. We did learn a new routine, but it was mainly learning the stretches and exercises needed to improve the technique of our dance. I enjoy these classes more than the ones where we learn new routines, because I find it easier to keep up.
My strength in this class was doing the stretches/exercises correctly, which I struggle with, and my weakness was fitting moves together to make a sequence in the time it should be instead of slow motion.
January 9, 2012
Lecturer: Gavin Maxwell
We started the lesson by doing a focusing warm-up, in which we did a number of exercises together as a team. These included throwing a bean bag to each other, (and remembering not to laugh and show it when we failed to catch it) and jumping together in time, which was a lot harder than it sounded. Despite this, I found the warm-up beneficial and enjoyable.
We then looked at a power point about the seven states of tension, as described by the famous practitioner Jacques Lecoq and did a lead improvisation. In this, we explored the 7 states of tension, as though we were a character going through each one. I thought this was an excellent way of learning them, because whenever I'm trying to remember them, I can think of the improvisation and remember how I felt at certain times.
My ability to focus and immerse myself completely in what we were doing was my strength. I will try to use this in future lessons. I didn't feel like there was something I did, or didn't do that was a weakness in this particular lesson.
Jac Lecock.
We started the lesson by doing a focusing warm-up, in which we did a number of exercises together as a team. These included throwing a bean bag to each other, (and remembering not to laugh and show it when we failed to catch it) and jumping together in time, which was a lot harder than it sounded. Despite this, I found the warm-up beneficial and enjoyable.
We then looked at a power point about the seven states of tension, as described by the famous practitioner Jacques Lecoq and did a lead improvisation. In this, we explored the 7 states of tension, as though we were a character going through each one. I thought this was an excellent way of learning them, because whenever I'm trying to remember them, I can think of the improvisation and remember how I felt at certain times.
My ability to focus and immerse myself completely in what we were doing was my strength. I will try to use this in future lessons. I didn't feel like there was something I did, or didn't do that was a weakness in this particular lesson.
Jac Lecock.
January 8, 2012
Character Profile
I am Helena Carlton, daughter of Lord and Lady Carlton. We live in the big manner house. I am 17 years old and I spend my time riding my horse Clover and darning. I try to do some writing each day, because Mamma says it may come in useful someday. I like to shop sometimes with Mamma, but she's usually too busy planning fancy dinners and parties, so I have to make do with the nanny, although she's dull and no fun whatsoever. I get very lonely sometimes though. I have a brother, but he goes to school now and never has time for me. Recently, I've been sneaking downstairs when no one's around and talking to the servants. Yes, I know. I know its shameful and dishonest. That's why Mamma and Pappa can never find out. I have to do this with the deepest discretion, which adds to the excitement slightly. Although they aren't as intellectual as people of our class, they are funny and interesting. I love to observe them as well. They're so different from us in everything they say and do. But recently, I feel like something's changed. I don't know what it is, but I just have the feeling that something isn't right in the house at the moment. Its probably nothing. My governess always said I had a "vivid imagination), but I can't help feeling unsettled in some way.
I am Helena Carlton, daughter of Lord and Lady Carlton. We live in the big manner house. I am 17 years old and I spend my time riding my horse Clover and darning. I try to do some writing each day, because Mamma says it may come in useful someday. I like to shop sometimes with Mamma, but she's usually too busy planning fancy dinners and parties, so I have to make do with the nanny, although she's dull and no fun whatsoever. I get very lonely sometimes though. I have a brother, but he goes to school now and never has time for me. Recently, I've been sneaking downstairs when no one's around and talking to the servants. Yes, I know. I know its shameful and dishonest. That's why Mamma and Pappa can never find out. I have to do this with the deepest discretion, which adds to the excitement slightly. Although they aren't as intellectual as people of our class, they are funny and interesting. I love to observe them as well. They're so different from us in everything they say and do. But recently, I feel like something's changed. I don't know what it is, but I just have the feeling that something isn't right in the house at the moment. Its probably nothing. My governess always said I had a "vivid imagination), but I can't help feeling unsettled in some way.
January 7, 2012
Victorian Daughters
. A daughter of a rich Victorian household would have spoken in a middle-class proper English accent and would have been of quite a high status.
. Expected to be married before they were 25. If not she'd be referred to as an old maid and her family would have nothing to do with her. They were expected to be proper and polite and couldn't say "no" to their husbands. (Pure, refined and modest)
. Women would be allowed to study history geography and general literature. (Non-controversial topics) Were barely given the opportunity to go to university. It was even said that studying was against their nature and could make them ill.
. Were seen as an ornament of society.
. Women wore:
Chemise and drawers next to the skin and a corset to shape their figure, an under-petticoat, (sometimes with a corset cover alternatively an all in one petticoat with bodice attached) stockings (held up with garters) and a dress. Decorative hair-nets were also worn.
Outer ware: Jacket, capes, cloaks, shawls and mantels were worn over the dress. Some dresses were made with matching capes and jackets to be worn indoors. It was also sometimes fashionable for the dress bodice to be cut like a jacket.
. Each member of the family had their own role in the home and were expected to call their fathers "Sir".
. A daughter of a rich Victorian household would have spoken in a middle-class proper English accent and would have been of quite a high status.
. Expected to be married before they were 25. If not she'd be referred to as an old maid and her family would have nothing to do with her. They were expected to be proper and polite and couldn't say "no" to their husbands. (Pure, refined and modest)
. Women would be allowed to study history geography and general literature. (Non-controversial topics) Were barely given the opportunity to go to university. It was even said that studying was against their nature and could make them ill.
. Were seen as an ornament of society.
. Women wore:
Chemise and drawers next to the skin and a corset to shape their figure, an under-petticoat, (sometimes with a corset cover alternatively an all in one petticoat with bodice attached) stockings (held up with garters) and a dress. Decorative hair-nets were also worn.
Outer ware: Jacket, capes, cloaks, shawls and mantels were worn over the dress. Some dresses were made with matching capes and jackets to be worn indoors. It was also sometimes fashionable for the dress bodice to be cut like a jacket.
. Each member of the family had their own role in the home and were expected to call their fathers "Sir".
January 5, 2012
This is some research I took from several differen webpages, inorder to help the class with Cluedup. This is not my own work.
Victorians
The Mother
The mother would often spend her time planning dinner parties, visiting her dressmaker or calling on friends, she did not do jobs like washing clothes or cooking and cleaning. †Both "papa and mama saw the upbringing of their children as an important responsibility. †They believed a child must be taught the difference between right and wrong if he was to grow into a good and thoughtful adult. †If a child did something wrong he would be punished for his own good. †"Spare the rod and spoil the child" was a saying Victorians firmly believed in.
The Children
Most days middle class children saw very little of their parents. †The children in a middle class family would spend most of their time in the nursery and would be brought up by their nanny. †Victorian children were expected to rise early, because lying in bed was thought to be lazy and sinful. †The nanny would-be paid about £25 a year to wash, dress and watch over them, amuse them, dose them, take them out and teach them how to behave. †Some would only see their parents once a day. †In the evening, clean and tidy the children were allowed downstairs for an hour before they went to bed. †Some mothers taught their children to read and write and sometimes fathers taught their sons Latin.
As the children grew older, tutors and governesses were often employed and boys were sometimes sent away to school
When the children grew up, only the boys were expected to work, the daughters stayed at home with their mother. †They were expected only to marry as soon as possible.
In the Victorian period, work inside and outside the home took up much more time than it does today and working people had far less leisure time. There was little money to spare and no radio, television, cinemas or sports centres. People found all sorts of ways of enjoying what free time they had.
Whilst the Victorians dreamt of improvement and progress through work, the years between 1837 and 1901 saw the greatest development in leisure pursuits ever witnessed. The period gave a more structured approach to leisure, with the creation of parks, libraries, art galleries and museums. In most large towns there were theatres and music halls that were popular and cheap. Men played or went to watch rugby, football or cricket. Technology changed as well, allowing the production of cheap books, newspapers and musical instruments. 'The National Trust' came into being, which helped conserve the countryside and improved transport, which made days out more accessible to everyone.
Victorian class differences also existed in leisure activities. Although the lower classes attended the same events as the upper class, they had there own entrances and locations within music halls, restaurants etc.
Outings and Treats
At weekends, families might go to the park, and listen to a band. Crowds would gather round the bandstand to enjoy the music. Zoos were popular too. Children rode on elephants and camels, and watched the lions being fed. At Easter, there was†Maypole dancing and a May Queen was chosen, and paraded through the streets. Poor children looked forward to treats such as day trips and picnics. These were often run by youth organizations such as the†Band of Hope†and the†Boys' Brigade.
Going to the Seaside
Railways changed people's lives. Families went to the seaside for the day by train. People who could afford it took a week's summer holiday. Seaside towns such as Blackpool and Margate became popular resorts. Trippers and holidaymakers enjoyed things we still enjoy at the seaside today: ice cream, fish and chips, riding on donkeys, paddling and making sandcastles on the beach. In old photos you'll notice most people are wearing ordinary clothes, with trousers and skirts rolled up to keep dry.
Travelling shows
Funfairs and circuses travelled around the country. Funfairs had roundabouts (worked by steam engines), slides and swings, coconut shies, shooting galleries and sideshows with strongmen, fire-eaters, jugglers and fortune-tellers. Circuses put on shows in big tents, and often paraded into the town on arrival with the clowns, elephants, horses and camels. Children laughed at Punch and Judy, a one-man travelling puppet show.
Theatre and Pantomime
The Victorians loved theatre, and most towns had at least one theatre or†music hall. At Christmas, lucky children were taken to the pantomime. This was often a lavish show with exciting special effects (lights, smoke, loud bangs, live animals). Poor children who could not afford a theatre seat might get a job in the pantomime as 'juvenile dancers' or 'crowds'. Children paid a penny to get into the cheap music halls, and came out whistling the latest popular song.
Victorians
The Mother
The mother would often spend her time planning dinner parties, visiting her dressmaker or calling on friends, she did not do jobs like washing clothes or cooking and cleaning. †Both "papa and mama saw the upbringing of their children as an important responsibility. †They believed a child must be taught the difference between right and wrong if he was to grow into a good and thoughtful adult. †If a child did something wrong he would be punished for his own good. †"Spare the rod and spoil the child" was a saying Victorians firmly believed in.
The Children
Most days middle class children saw very little of their parents. †The children in a middle class family would spend most of their time in the nursery and would be brought up by their nanny. †Victorian children were expected to rise early, because lying in bed was thought to be lazy and sinful. †The nanny would-be paid about £25 a year to wash, dress and watch over them, amuse them, dose them, take them out and teach them how to behave. †Some would only see their parents once a day. †In the evening, clean and tidy the children were allowed downstairs for an hour before they went to bed. †Some mothers taught their children to read and write and sometimes fathers taught their sons Latin.
As the children grew older, tutors and governesses were often employed and boys were sometimes sent away to school
When the children grew up, only the boys were expected to work, the daughters stayed at home with their mother. †They were expected only to marry as soon as possible.
In the Victorian period, work inside and outside the home took up much more time than it does today and working people had far less leisure time. There was little money to spare and no radio, television, cinemas or sports centres. People found all sorts of ways of enjoying what free time they had.
Whilst the Victorians dreamt of improvement and progress through work, the years between 1837 and 1901 saw the greatest development in leisure pursuits ever witnessed. The period gave a more structured approach to leisure, with the creation of parks, libraries, art galleries and museums. In most large towns there were theatres and music halls that were popular and cheap. Men played or went to watch rugby, football or cricket. Technology changed as well, allowing the production of cheap books, newspapers and musical instruments. 'The National Trust' came into being, which helped conserve the countryside and improved transport, which made days out more accessible to everyone.
Victorian class differences also existed in leisure activities. Although the lower classes attended the same events as the upper class, they had there own entrances and locations within music halls, restaurants etc.
Outings and Treats
At weekends, families might go to the park, and listen to a band. Crowds would gather round the bandstand to enjoy the music. Zoos were popular too. Children rode on elephants and camels, and watched the lions being fed. At Easter, there was†Maypole dancing and a May Queen was chosen, and paraded through the streets. Poor children looked forward to treats such as day trips and picnics. These were often run by youth organizations such as the†Band of Hope†and the†Boys' Brigade.
Going to the Seaside
Railways changed people's lives. Families went to the seaside for the day by train. People who could afford it took a week's summer holiday. Seaside towns such as Blackpool and Margate became popular resorts. Trippers and holidaymakers enjoyed things we still enjoy at the seaside today: ice cream, fish and chips, riding on donkeys, paddling and making sandcastles on the beach. In old photos you'll notice most people are wearing ordinary clothes, with trousers and skirts rolled up to keep dry.
Travelling shows
Funfairs and circuses travelled around the country. Funfairs had roundabouts (worked by steam engines), slides and swings, coconut shies, shooting galleries and sideshows with strongmen, fire-eaters, jugglers and fortune-tellers. Circuses put on shows in big tents, and often paraded into the town on arrival with the clowns, elephants, horses and camels. Children laughed at Punch and Judy, a one-man travelling puppet show.
Theatre and Pantomime
The Victorians loved theatre, and most towns had at least one theatre or†music hall. At Christmas, lucky children were taken to the pantomime. This was often a lavish show with exciting special effects (lights, smoke, loud bangs, live animals). Poor children who could not afford a theatre seat might get a job in the pantomime as 'juvenile dancers' or 'crowds'. Children paid a penny to get into the cheap music halls, and came out whistling the latest popular song.
December 7, 2011
Ideas (Rooms and Plot) for Clued Up
Paige Clifton, Charlie Lambourne, Chloe Smith
Era
1950
1890 - Victorian, Received Pronunciation
Rooms
Dining Room - Tutorial Room
Kitchen -Dance Studio
Ballroom -Theatre (V10)
Lounge - Dance Lab
Drawing Room/Study -Singing Room
Library - Acting Studio (Door near the whiteboard could be a secret entrance covered by a bookcase)Plot/Characters (first thoughts)
Romance Cheating/ Affairs/ Love Triangle
Doctor
Butler
Lord Scullery Maid affair
Lady Step Mother
Scullery Maid
Chef
Maid
Master + Miss (Son + Daughter)
Stable Boy?
Lady killed by Lord because she is having an affairScullery maid
- Affair with Master (son) and gets pregnant
Confides in Chef - He tells the Lord because he is jealous
Lord unhappy - decides she needs to be killed...
Scullery maid is murdered. Butler is only witness
Sub plot involving servants -they thought Butler did it.
Flashbacks?
With gauze. Recorded and played back with projectors.
Step Mother with Son and lord kills step mother
OR
Master of house gets maid pregnant
Audience
Audience get 1 question per group (of ?)
Audience watch for a bit. Decide what question to ask
Then interview actors
They get given a pen and paper to take notes
They get the opportunity to dig for clues in each space, to see what they can find (murder weapon etc.
Room Plots
Kitchen: Bitching in the Kitchen (staff)
Butler, Chef, Sioux Chef Maid, Lady in waiting
Lady enters and borrows the butler
Staff continue bitching about butler.
Butler -Charles/ Alfred/ Edgar
Library: Murder weapon is stashed here (bloody)
Maid loves books so she is always in the library and the audience see her in there with the weapon and assume she is the murderer.
Paige Clifton, Charlie Lambourne, Chloe Smith
Era
1950
1890 - Victorian, Received Pronunciation
Rooms
Dining Room - Tutorial Room
Kitchen -Dance Studio
Ballroom -Theatre (V10)
Lounge - Dance Lab
Drawing Room/Study -Singing Room
Library - Acting Studio (Door near the whiteboard could be a secret entrance covered by a bookcase)Plot/Characters (first thoughts)
Romance Cheating/ Affairs/ Love Triangle
Doctor
Butler
Lord Scullery Maid affair
Lady Step Mother
Scullery Maid
Chef
Maid
Master + Miss (Son + Daughter)
Stable Boy?
Lady killed by Lord because she is having an affairScullery maid
- Affair with Master (son) and gets pregnant
Confides in Chef - He tells the Lord because he is jealous
Lord unhappy - decides she needs to be killed...
Scullery maid is murdered. Butler is only witness
Sub plot involving servants -they thought Butler did it.
Flashbacks?
With gauze. Recorded and played back with projectors.
Step Mother with Son and lord kills step mother
OR
Master of house gets maid pregnant
Audience
Audience get 1 question per group (of ?)
Audience watch for a bit. Decide what question to ask
Then interview actors
They get given a pen and paper to take notes
They get the opportunity to dig for clues in each space, to see what they can find (murder weapon etc.
Room Plots
Kitchen: Bitching in the Kitchen (staff)
Butler, Chef, Sioux Chef Maid, Lady in waiting
Lady enters and borrows the butler
Staff continue bitching about butler.
Butler -Charles/ Alfred/ Edgar
Library: Murder weapon is stashed here (bloody)
Maid loves books so she is always in the library and the audience see her in there with the weapon and assume she is the murderer.
December, 7, 2011
Lecturer: Jamie Roberts
Today we were introduced to the project Clued Up, a site specific production set in the Victorian times.
I wasn't very happy about it at first, because I'm not really in to murder mysteries and thought I wouldn't enjoy it. But when we started contributing ideas, I started to really look forward to it.
We were then split into 3 groups and went away to work out which room would be which and a storyline.
I felt proud of my contribution today, as I thought up a storyline which my group loved and decided to have the dance studio as the kitchen.
When we'd agreed to set it in the Victorian era, I was able to contribute a lot of knowledge to the group, as I love historic novels and have read a lot of them.
In order to make our ideas for each room as realistic as possible, we had to spend some time researching what a Victorian room would be like, which I found interesting and inspirational.
I will try to bring this knowledge, and thoughtful ideas to the next lesson, and will leave behind my negativity.
Today we were introduced to the project Clued Up, a site specific production set in the Victorian times.
I wasn't very happy about it at first, because I'm not really in to murder mysteries and thought I wouldn't enjoy it. But when we started contributing ideas, I started to really look forward to it.
We were then split into 3 groups and went away to work out which room would be which and a storyline.
I felt proud of my contribution today, as I thought up a storyline which my group loved and decided to have the dance studio as the kitchen.
When we'd agreed to set it in the Victorian era, I was able to contribute a lot of knowledge to the group, as I love historic novels and have read a lot of them.
In order to make our ideas for each room as realistic as possible, we had to spend some time researching what a Victorian room would be like, which I found interesting and inspirational.
I will try to bring this knowledge, and thoughtful ideas to the next lesson, and will leave behind my negativity.
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