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.
Tuesday, 28 February 2012
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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