Practical Project

Youtube Links for Performances

1. https://youtu.be/4U9gX2r6KnU (Chanel Monologue recording)

2. https://youtu.be/-bQDriKfiJQ (Chanel Monologue rehearsal)

3. https://youtu.be/73zotBjoRS4 (Chanel video footage performance)

4. https://youtu.be/j7KXFkpBRF0 (Dress Rehearsal Chanel)

5. https://youtu.be/-n6GpkCFLEY (Olivia video footage)

Solo performance rehearsal process- 3rd March

Olivia (member of my class) and I decided to have rehearsals and discuss feedback on our performances. We both agreed that both our performances need more time to develop to show strong depth to our piece, as we were using  complex material in our performance. From performing our scratch performance we learned how to devise our performance. We wanted to use a wide range of research to create an open minded audience participation on our performance. Our aim was to give the audience a opportunity to connect with our performances. We also discussed and gave each other critical feedback to how we could develop our performance further.

We agreed to meet every Tuesday to rehearse and analyse each others performance and give feedback.

Tuesday 15th March

We reflected on our first performance . Key questions included how we wanted to develop and how we could extend our performance?

We then individually worked on our performances .

Showed each other aspects of our performance that we worked on.

Looked at our writings and experimented with different ideas in order to use different materials in our performance.

22nd March
We met up at the Stratford Water Lane campus library. We focused on the readings discussed how we could use these materials in our performance.

The reading – Devising Theater by Alison Oddey

It mainly focuses on the aspects such as why devising is important and to whom, formation, origins and how to target the audience. The reading helped our understanding on how we can collaborate and how we can support and provide each other with critical analysis on each other’s performance and how we could develop and create a stronger performance.

This helped us to continue with our development on our performance.

29th March

How is this relevant to my performance?

Anna Deavere Smith Final project used political elements . Even though she used political elements in her performance she used a combination of her and other peoples work. This helped opening our minds to other ideas. This creates complexity and understanding other performance in order to influence and contextulize our own ideas that helped us develop our performance further.

19th April

Discussed theatre visits

‘Oh what a lovely war’ at Theatre Royal

This play consisted of a political view point of world War II. It had aspects of a serious complex story of World War II and how the propaganda of men and woman were focus to join the war effort.

There was comedy used in the play to detach the audience from the reality of the war. They achieved this by the use of characters. The characteristics use on the play was used in extremely funny context to take away the stigma of the war and what the war represented.

How did I connect this to my performance? How was this useful?

Olivia and me were doing a autobiographical performance that related to real life experiences that had deep meaning and approach important issues. For example my performances explores neglection and child abuse whilst my performance focuses on eating disorders and body image.

‘Oh what a lovely war’ is a prime example for transforming a traumatic historical experiences into a comedic diversity.

5th May- Final Performance

Olivia’s review on my performance-

Chanel’s performance consisted of her performing a monologue about her childhood and relationship with her mother . How her mother was a drunk and how she was neglected as a child. She used aspects of comedy techniques ‘Parody’ style performance.

Performing about a person’s experience and using comedy to detach yourself and the spectators from the traumatic experience.
Performing about a personal experience and using comedy to detach yourself / sad experience.

She was intimating a an old women throughout the performance inspired by Catherine Tate and Mrs. Browns Boys, which made the spectators reminiscing their own childhood. I liked the use of props and characteristics and how she illustrated the different characters, which was a very  strong element of the performance.

I liked the way she created a pub atmosphere , with the use of cigarettes, pint glasses and shots of whiskey. Also other aspects of her performance such as portraying her mother saying ‘in a minite love’ while taking shots. Overall I believe this was a successful performance stating issues and making statements while also balancing the performance with comedy.

Olivia’s Performance (Eating disorder and body image)

She wanted her performance to show the challenges and the process of an eating disorder and also explore the perception of eating disorders. Her performance showed the body perception image and how the society judges you on the outside, and never acknowledged your inner self. It showed the media stereotype about the modelsame or actresses and how they should look.

I liked the way Olivia establishes on eating disorder and how this affects women and how they handle eating or not eating (control of eating). The performance shows the realities of people diagnosed with Bullimia and the process of making them sick to stop themselves from gaining weight. These were the true reflections on the reality. She used the fake smile  as a way of showing the enjoyment of losing weight.

I loved the way Olivia put the cake all over her body as a different way of been perceived to be gaining weight on different parts of the body, but transferring it around to a different meaning. It suggested that the cream on the cake was an excellent moisturiser and women could apply it on their bodies.

Overall comparing to her previous performance, the context this time was projectedesigned in a stronger way by exploring the depths of what it is like to have an eating disorder.

CLASS NOTES

1/10/14

Introduction

Activity done in class

 

 

8/10/14

Writing for performance: turning your ideas into text 

Guest Lecturer: Cathy Naden

Workshop: The use of writing in devising and developing ideas for performance.

 

22/10/14

Introduction to auto-ethnography in preparation for term 2

Solo performance- with Ananda Breed

Description of Session:

  • This session addressed ‘What is Solo Performance’
  • It explored various techniques of producing solo materials
  • It analysed the work of contemporary solo artists.
  • It also discovered the personal voice and persona as an artist.

The following exercises were conducted during the session: Name with Movement, Intro to Solo Performance, Switching Places, Image Theater, Testimonial Theater, Shepard/Sheep, Swapping Stories, Sounder/Mover, Big Wind Blows, Mini Solo Performance Sharing, and Reflection Circle.

Solo performance:

All of the people should really push themselves to bring out like a perfect performance stretching and expanding and creating lots of analogies  and metaphors
Use different parts of your life and try to connect them. Constant research is a very important part as well. Use metaphors, work doesn’t need to be straight.

Idea is like,take a word and remember any story which is related to it and then improve on it. Using different characters, and how they change from one to other. Changing the pace of the piece also help. Subconscious should come out, think on the spot and whatever come to your mind. Also we learn something about the person. One word can mean so many different things to different people.

FREE WRITING
I started  as a child wanting to be a nurse  to help people. This is my first memory of wanting to fit in the world. Having enough conventional upbringing which in my case was to be brought up by an alcoholic mother. This led me to try to escape from what was going on in my life. That time I used to do ballet, jazz and street dance and drama.
Indirectly I was trying to use this things to escape from my unhappy life. Along this journey, I became a dance teacher.

Unfortunately for me, I had motor bike accident that ended my career. This left me with spinal problems and it disabled my left leg. After having my children I decided to go back in to education. I started with the level 1 and the level 2 drama course then moved on B.tech level 3 and level 4. Also then complete the HND level course. Moving on I started to do the BA theater course in the university. While I was completing the 1st and the 2nd year in university, I had no idea of where I was going. And in the end of my second year, I discovered that I want to become a drama teacher, to teach secondary school age groups from 11 to 19. I therefore then I arranged my work placement for 3rd year in university teaching drama to secondary year students from the age 16 to 19 years old. This 50 hours of work experience gave me an insight of what it was to be a drama teacher within educational setting.

This incident affected my life very much. Doing it made me feel like I was in the right place doing the right thing and at the right time. In my next step I’m going to be applying for a postgraduate drama teaching so I can Continue my journey through education using applied theater and drama and then furthermore  with the community.

PERFORMANCE REQUIREMENTS

  • Get carried away according to the conversation.
  • Switching between the characters, and the interruption.
  • Energy of the piece should be as required.
  • You can use stories of your own self or stories of others.
  • The performance is not expected to do just in a single way.

When u babble of when u forget the lines, is more innocent. Feels more truthful to the set piece, rather than the set piece. Here it involves a little disclosing of the performer.

A lot of thing come from passion. And the thing you could do anything for, anything which your parents would fight for, things you are passionate about.

Testimonial Theater Exercise

Get into pairs. Share a moment from your life when you experienced being labelled due to race, ethnicity, gender, sexuality, etc. Listen to one another using active listening skills and pay attention to gesture and metaphor. After both individuals have shared, create a mini performance of the story. Repeat again. This time, the teller is able to fictionaliz the story. Likewise, the listener can embellish certain elements. The listener is able to write down the story and to edit towards a performed piece. Add gesture and metaphor. Perform again.

Story:

When I was young my life was surrounding by cigarette’s smoke, beer, smelly drunk people and the smoke around me almost made me choke. No wonder how I got asthma.

There was lot of shouting and an aggressive mother with no kind words. Never once that she said I love you. Just throwing out orders. Waking me up early hours of morning and shouting make me a cup of tea now. Living in a house which was always dirty. For a 5-year-old I was cleaning the house just like Cinderella.

I would always be dreaming that I could escape this prison. But when I danced I was in another world, in the happiest place ever. I always dreamed of being a ballerina dancing on the stage. When I passed my ballet exams, I was so happy. But then after the class, going home was the reality of my existence, the place where I had to live. Evening after evening of going to school, I went in the kitchen full of emptiness without the food and also an empty house with no one in, just me alone. I used to pray to God at times…saying why me!

I knew where my mom was in her second house, the kings Arms above, smoking, gambling and drinking all the time. As I picked up and asked for my mom, it was always the same answer. My mom would come on the phone drunk as a skunk, slowing her words I will be home soon, I will bring you Chinese. Of course she never did. As I go upstairs to my room alone talking to my one and only teddy bear, crying myself to sleep because I was so hungry. Waking up in the morning being shouted at the face by her my so called mother. Get up, go to the shop and buy some bread she would say. I couldn’t learn properly at school because I was undernourished. The only hope I had  when I would stay at my father’s place at weekends, where I could get fed properly. I couldn’t understand why my mother got custody of me and not my father.

I hated living existence with my mother. I got dragged from pub to pub, sleeping on the pub chairs, asking begging to go home to my bed. All I got was in a minute and soon, but that never happened, until the pub bell rung and it was closing time. Half asleep I got told to get in the taxi to go home. My mother was so pissed that she fell on the floor and I had to help her to the taxi. All I wanted is to be normal like the other kids.

5/11/14

Site Specific workshop 1: engaging with places and people.

Activity: To go around Stratford in groups and making a communication with the local people.

Questions asked

  1. Were they living locally in Stratford?
  2. What did Stratford mean to them?

People thought that the shops were a very important part in the Stratford area. The visitors mostly came there for shopping and they thought that since the Olympics the standard of the area has increased.

Later the group visited Stratford Theatre, where we got more information about Joan Littlewood who created and funded the Stratford theatre.

When we went around there we found a man eating who turned out to be a director. He shared his thoughts with us and explained how Stratford is very diverse and how theater works around here within the community.

The director explained us that the reason why he came to Stratford was because of the work of Joan Littlewood and the history behind it. This got him attracted to Stratford.

19/11/14

Working with Audiences

With Jorge Ramos

Working on ideas- Even if you are not sure about the idea, you have to keep working on it, so at least it is continuous. How to start how to develop all the things was helped by the tutors one by one. The most important thing is that you have to be absolutely sure with a decision about what you are going to do.  Keep moving on, and be creatively involved. Include one thing which going to be the best. Anything can be the topic. Even coming up with an idea is the beauty of creating a project which is your own. It doesn’t have to be in a specific. The topic or content is important, but the form of the piece is necessary as well.

Tutors story- Started theater in nonspecific way, it can be anything, any space can be created as a theater. He did it in the trains. First two times did it without permission. But for the 3rd time they got permission because the first two times were really successful. The audience has a role, but they much more are observers. If there is a part of audience in the performance, you can’t work it out in the rehearsals as it’s never known about what’s going to happen, the reaction is always going to be different. So they studied the methodologies for that to work, how to prepare the hosts and how to work on the responses. They made a written project for a performance in a hospital named House of Healing, but it was never performed.

In terms of developing the work, what to expect from audience? The best thing is never assume anything. Depends on the knowledge of what the audience has been informed.
In another type of spectrum, if the performance is like a game or competition, the scenario can be totally different. Theater is a private place, one has to pay for it, and normal type of people and very small amount of people go and pay for it. So a wider type of public is not involved. All the performance is concerned by what type of audience is going to be there. In the galleries, the amount of new people coming is very small. In the Olympic Park there are different rules according to standing position. It is like a public place. But there are many rules which are involved. So even if it’s a public place, there are so many things which the performers wouldn’t be able to do. It helps in publicity, but the owners of the place would prefer marketers to do that instead of the artists.

BOBBY BAKER

The readings from class really help me to reflect one one of my stories from the past and connect it with my thought patterns in the class. Also during the classes, I was able to relate my personal emotions in converting it into a story.

Bobby-Baker-Illustrator-i-001

Bobby Baker is a performance artist whose gift is for subverting domesticity. She is hilarious and has, for 35 years, lived up to her surname.

The above reading of Autobiography and performance by Deirdre Heddon helped me to analysis the theory of performance and implement it in my own performance. It really helped me to develop my piece

Mrs. Browns Boys

Katherine Tate

These were the two characters I have inspired my performance from. I found their stories quiet similar to mine which helped me connect more to the characters and get good work out of it.

WORLD PREMIERE OF A RADIANT MUSICAL COMEDY (Staring Catherine Tate)

Miss Atomic Bomb stars Catherine Tate, award winning star of TV and theater, who is reunited with West End star Simon Lipkin following their critical and audience success in Sondheim’s Assassins at the Menier Chocolate Factory.

REVIEW

Everyone had their own different perceptions. Some of them rated it good, some of rated it bad. But overall it was a very good entertaining show. It refected the difference aspects of emotions to the performance

 

Mrs Brown’s Boys live at The O2 (JUL 8)

mrs-browns-boys

20140312_190606

26/11/14

Working with audiences 2

With Jorge Ramos

Fragment from chapter: A DRAMATURGY OF PARTICIPATION File

Using the following can help the audiences to engage with the dermatology of the performance

1. Participatory rituals host will demonstrate an action, the audience would see, learn and repeat.
E.g.- PLAY – HOTA MADEAI .In a play there was two naked people  who were about to get married but the act goes like they were washed by a sponge by another performer. Then they invite some person from audience to come and do that. This makes the audience more involved.

2. Immersive environments If the thing the performers are up to which are non-familiar, but if u r familiar with the environment, the audiences mixes well.

3. Interactive gameplay Which is using structures from game design, like for E.g.  If I am designing the game, the player can’t be ignored. So the rules and timing have to be considered.
E.g. – In the play earlier, when the couple get married Jason cheats on Madeai, she goes crazy, throws everyone out, makes the place a Cabaret club and just invites the women, but the men get in there in disguise. This is how the interactive Game play went on. It was like a gender war, spying on each other, this make the performance very involving.

Document the hell out of your performance. Whenever performing, you need to have pictures and videos, this helps to get better as well as helps to market the stuff.

Experiment:
Everyone was asked to bring thing anything, and put down together. And then all were asked to take a look at it. And then form a group of three people, but go to a person less familiar.  And now select items from there which u would take to make a game of it.

14/04/2016

Site Specific workshop 2 Performance

20160414_114657

In this class we watched two performances. Olivia performed and then explained what parts she did change and re-performed it and some of her class members gave her feedback.

Then, Sabrina showed her performance choosing a piece of performance to with it, then the tutor asked the students to join in and do a dance to the music. This helped Sabrina to reflect what she can use in her performance and then all the students gave her feedback. Than the tutor removes the music and put Sabrina’s soundtrack to see how others would reflect to it.

24/03/2016

Class with Bobby Brown

ACTIVITIES

  1. Saw the art collection in the above pictures, as I walked around the installation of the gallery outside in Stratford. As I read and looked at every individual picture, i reflected firstly on the image and what it made me feel. Then I read the storied of the person behind the pictures and connected the emotion, to see if I emotionally connected to the picture or not, because the picture did one thing and the story did another. Overall, I liked all the pictures as all of them were special in their own way which made me feel different for every artist.
  2. Shopping in Morrisons with a budget of £1 and bring a thing which you would have any past story with which you can share.

3. There were a lot of things arranged on the table, of which the activity was to make an artistic piece

 

When we can back from Morrisons we started to discuss what things we got which explained the culture where we came from. We all chose something different and they we all told out stories individually. It was very interesting to hear the different stories around the table.

I bought spaghetti which comes from my cultural background from Malta which is a Mediterranean island next to Sicily. The story behind that was how my father taught me to make spaghetti from scratch and how he used to go swimming in Malta and catch an octopus with a sphere. Me and my cousin posed in a picture with the octopus sticking to our hand. Then I continued the tradition of cooking Spaghetti to my children, and because of that the children always remember their granddad, as he passed away three years ago. The children say that I should always finish my Spaghetti, as if I don’t, grand dad will be sad.

 

Project Proposal

Final Practical Project Proposal
Name Chanel Falzon
Contact Email chanenfalzon@hotmail.com
Contact Phone Number
Title of your project Opportunities for everyone
Please describe your work in 50 words
My work is in the area of disability and to study how an illness is conflicted on a person against their will. This has its specific effects on the individual which may be psychological or physical. The research also includes about how the disabled person is perceived by other individuals highlighting how people see the disability before the person.
Please tell us about what you would like to do, including the ideas behind the work and how it works with an audience (150 – 200 words).
 I would like to show the suffering that a disabled person goes through on daily basis. For example, pain, stress, physical difficulties in walking around. I would like to share what happens to a disabled person when they are not socially accepted and they are being bullied one way or another.

The ideas that can be used in this work is to show the audience how difficult it is for a disabled person to function to do every day physical activities. It is also to make people aware the difficulties and challenges that a disabled person faces every single day of their like and the psychological trauma which they go through on a regularly. I would also like to elaborate on how religion promotes positivity to help an individual to carry on.

I would like the audience to somehow participate in the performance and acknowledge the situation, foreseeing how difficult it is to perform normal everyday things, like getting up a chair, travelling and etc. I want the audience to reflect and understand how it works for a disabled person. Basically, working on wanting to know ‘How would they fell if they had to go through the same condition?’

Please tell us where you propose to present your work, and the nature of its timing (location/time/duration).
Location: The location will be used as per University arrangements

The time will be worked out as the available slot but the performance will last from 15 to 20 minutes

Please provide a project timetable detailing key targets and actions to be taken between now and the project delivery e.g. permissions, materials, health and safety checks.
 There is there months’ time till the presentation of the performance.

The first step in preparation would be to do research on Solo Performance Practitioners to formulate ideas on how to deliver the piece.

The next step is to contact the tutor who is helping me with the performance side of the Solo Piece. From the research and my ideas formulate a story that I will be performing.

After finding out the location, I will work on the props needed for the performance and the other technical things as well. Also contact stage management in the University of East London and get a health and safety from to perform any checks needed. Contact will be kept regarding the delivery of required equipment through email.

Have regular tutorials and updated to all tutor involved in the solo project to keep the communication updated.

 

Please list the equipment and materials that you will need to deliver your project.
Planning in process
Please describe the evaluation process that you will undertake during and following your project delivery.
The evaluation process will be worked out while working on the performance and developing it according to the working needs of it
Please include a brief artist’s statement that describes you and your work (500 words) and any images/plans/maps or other materials that support your proposal.

In process of Research

 

15/04/2016

Script for performance


Oh I can’t get up

Oh God help me (Struggling to get off bed)

Here I go again (Sits up)

You! (Pointing at Ben) Hi, can you help me up

Oh Fuck (In that action)

Here I go again ,Oh help me over here love (Video playing on)

 

Hello duckies

When I was baby, I weighted lighter than a bag of sugar

I lived with my mother who was a f***ed up alcoholic

I went in the kitchen and looked in the cupboards

They were bear there was nothing in there

No food for me there

I was around 5 years old living in filth

Cleaning the house top to bottom

Holy fuck, here I go again the pain is unbearable

When I was a teenager the boys used to call me names

Barge ass, they used to say my ass used to come round the corner half hour before I did

(Does actions with the hands) That was a big ass, big fat ass.

Oh, those were the days, p***s them f*****g boys

And look at me now.

 

I used to dance to escape the sad life I had

There I was surrounded by cigarettes, smoke, beer and smelly drunken people.

I was always dreaming I could escape this prison.

I could fell the emptiness around me as I was all alone

I prayed to God why me, but holy fuck, I didn’t get an answer.

I knew where my mum would be, in the king’s arms, fuking pub her second home.

I called her on the phone, she was drunk as a skunk.

She always said she would bring me Chinese food home, but she never did (hands- out Chinese food leaflets)

Just me and my teddy bear, my only friend as I used to cry myself to sleep every-night alone.

I was dragged from pub to pub, sleeping on the pub chairs, fuking bullocks it was. The pub bell used to ring ‘time- up, time to leave, last orders’.

‘Come on Mum, we got to go’ I used to say, to which my she would reply ‘In a minute love, in a minute’ (Prop- a coat which represents my drunk mum, there will be two tables, on one table there will be 6 glasses, of which I will drink saying the above dialogues, and on another there will be two children’s plates, a girl and a boy with knifes and forks with dinner set ready)

‘The taxi is here’ I said when I was half asleep. My mother was so pissed so she felt on the floor

And there I was helping my alcoholic mother off the floor (pulls the coat which represents the mother)

I always wanted to be a nurse, helping out other people and to clean after drunk people’s mess.

I was just like Cinderella cleaning up other people’s mess.

Come on kids, dinner is ready (goes to the table, cuts up the fruits on the table like setting out dinner).

Props to use

Beer

Beer glasses (six)

Chinese food leaflets

Cigarette

Ashtray

Bell

Children’s food plates (One girl and a boy)

Coat (That represents my mum)

Performance Autobiography.

My work is in the area of disability and to study how an illness is conflicted on a person against their will creating its psychological or physical effects. The research also includes about how the disabled person is perceived by other individuals highlighting how people see the disability before the person.

Linking it in with my upbringing as a child, I was brought up by an alcoholic mother and there was not very much food in my home to eat, and how from 5 years of age I used to clean the house as I didn’t like to live in a filthy place. From birth I had struggles in the world as I was lighter than a bag of sugar. I had a hard start in life. In my performance I wanted to portray the realities that happen in people’s life but reflect it in a way that the audience would not look upon it just in a sympathetic way but see it in different points of view.

The ideas that can be used in this work is to show the audience how difficult it is for a disabled person to function to do every day physical activities. I would like the audience to somehow participate in the performance and acknowledge the situation, foreseeing how difficult it is to perform normal everyday things, like getting up a chair, travelling and etc. This is what I tried to show in my performance by asking someone to come and help me get up, which made the audience aware how hard normal activities are for a disabled person.

The first step in preparation was to do research on Solo Performance practitioners to formulate ideas on how to deliver the piece. I choose Catherine Tate and Mrs. Browns Boys to work on. The naturalistic link with Catherine Tate was that in my childhood I used to blow bubbles from gums all the time and I had a care free attitude and I couldn’t be bothered. Choosing Mrs. Browns Boys was a way of using the comedy elements to reflect a disabled person in a comic role. As the performance was looking into my past and present it could link very properly.

Reflection

The above script has been updated by me as per the feedback I received for the performance I did. I have to improvise and make the performance better in order to perform at the gas station. I removed the chewing gum and the ‘Am I bothered part’ and added the props listed above.

The thought behind each prop is that it represents certain emotions such as ‘The Beer and the Cigarette smoke’ represents the stink and the stench of the pub environment because in time it used to be allowed to smoke in the clubs. As there will be two tables the first one will have six beer glasses and beer on it for which I will say ‘In a minute’ and then I will act to drink from one glass. The meaning behind this whole scene is time and waiting.

The ‘Bell’ represents that its time to take the last drink and leave as the pub is closing. The ‘Coat’ will represent my alcoholic mother where she used to fall over and I have to pick her up and how she used to drag me from place to place. The ‘Chinese Leaflets’ represents her promise of bringing home the Chinese food which she never did and I am going to hand these leaflets out to the audience so they have some sort of memory they take away with them.

On the second table they will be placed two children’s plates, a girl and a boy with knifes and forks with dinner set ready. This represents the caring nature and love that I now provide for my own children that I didn’t have from my own mother.

 

 

 

 

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PLACEMENT PORTFOLIO

Contents
Term 1

1. Introduction to Placement.

2. Video for Development / Broadcasting Careers.

3. Introduction to Employability Team.

4. Arts Practitioner / Freelance Artist Careers.

5. Skills audit – how to identify your skills.

6. Rehearsals and Feedback.

7. Presentation and Reflection.

 

Term 2

1. Introduction to Placement: Focus on facilitation skills and starting up your own company.

2. Forum Theater.

3. Verbatim Theater.

4. Delivery of workshop and class reflection.

5. Designing your own company.

6. Funding.

7. Evaluation and Reflection.

8. Work Placement.

 

Term 1

drama

The entries in the blog give a rough idea of all the teachings in the class session which were relevent to my ideal career and how they were reflected by me during my work placement. As I want to be a drama teacher I got into a placement in NewVIc sixth form college, where I shadowed the teachers and learned more about the overall process of the teacher-student relationship.

Necessary details  of the timetable and the whole theoretical working process of the classes during the work placement have been added in short at the end of the blog namely ‘Work Placement’. The teaching in the Placement module enables to a good understanding of all the theories which can be learned better through a practical experience. Critical reflection of important topics is included in this section which also includes the any mistakes made,  reflection over it and the overall thinking process.

 

Week 1 (29 September)- Introduction to Placement
Lecturer: Dr Ananda Breed

Writing a CV and cover letter, setting up your portfolio, Reviewing placements and processes, Placement roles and responsibilities were the main points of discussions in this class.

Preparation for job applications: Always practice before going to the interview and never be late. Practicing it would always make one more confident about the interview. Two key points to remember are employability and professionalism which will make you more reliable and responsible.

Consider your strengths and weaknesses, which will help for a good analysis. Making applications have to be started way earlier and always have relevant information known of our interested job.

To be able to get a good job, an individual must be able to market himself, which is an important part of being a successful graduate.

‘ Anything that can be offered to a market for attention, acquisition, use or consumption that might satisfy a want or need. It includes physical objects, services, persons, places, organisations and ideas’ (Kotler et al., 2008)

As the above quote suggests, I think skills and objects can be compared. They are like a same thing which can be bought like services through the employment. The more services the person has to offer the more opportunities the individual can have in the market.

 

Week 2  (6 October) – Video for Development / Broadcasting Careers

Lecturer: Dr Ananda Breed / John White

Critical elements of the CFC/ SN video process

1. People get to see themselves represented

2. Get an opportunity to see themselves in the form of other people

3. Opinions are important, so that you don’t get stuck in the circumstances and can improve yourself

4. Screenings are a communal process it is a very important thing.

Taking opinions from the audience is very helpful in improving the quality.
Mr. John white talked about the interactive drama series L8R, and showed the Pilot video. Being an interactive series it helped to increase the interaction of the audience.

Another way to make it work is to change the sequence of the episodes which creates more suspense and interest.

For creating and casting this series number of young people were asked about the possible outcomes. The casting outcomes were a result of the workshops which collected more information.

The guest lecturer talked more about the camera techniques and working within arising of different circumstances, saying that the time limitations were a very important aspect to take care of.

 

Week 4 (20 October) – Introduction to Employability Team
Lecturer: Dr Ananda Breed / Karen MacIntyre

Reviewing CV’s, cover letter and workshops regarding communication to employers were the topics which were covered in this lecture. Creating a CV totally is incomplete without reviewing it. There are many different ways in which the CV can be presented. It is important to note which type works well with requirements of the job.

The power of first impression was explained which a very important part even during making the CV or during an interview. Also a handshake can prove to be very useful as it not only increases a positive effect but also diminishes the impact of any negative impression. Also confidence is the key, which would help boosting up the chances of bagging the job.

To build up personal profile online LinkedIn is very helpful which gives employers a chance to find you. It also helps for increasing the networking connections and keeps people updated with the latest on-going work relevant issues.

Cover letter should be made with great care which is an essential requirement for most of the jobs, as it gives a brief summary of why a particular individual is suitable for the specific job. It is required as in to make the hiring manager interested in the individual profile. A good cover letter could always make a difference

The following definition  of Employability was mentioned in the ‘Trought’ readings

‘a set of achievements skills, understanding and personal attributes – that makes graduates more likely to gain employment and be successful in their chosen occupations, which benefits themselves, the workforce, the community and the economy’ (Yorke, 2006a)

A number of aspects contribute for success in employability, which in short are explained in the above definition.

 

Week 7 (10 November)- Arts Practitioner / Freelance Artist Careers
Lecturer: Dr Ananda Breed / Karen Tomlin

Define: Artist Facilitator – They deliver tailored workshops from past experiences. Offers different types of skills for people looking for it. For an artist facilitator, there should always be a qualification which keeps open a lot of options available which keeps on choice. There are number of ways to market yourself. It depends on the priorities being looked for. Take a look at a person who does the same thing, track it and see how it can be useful to you.

Monologue (elevator talk)-
It’s good to have a piece ready, which can be delivered at the drop of a hat. This helps a lot. It’s really important to be passionate about whatever work one should undertake.

Policy making  (working with decision makers)  can be one of the options in a career as an artist. There are a variety of roles available throughout the whole field.

It is said that people in very powerful positions are usually generous, as they know how it works. They have gone through difficult times and they exactly know what amount of hard work it takes to achieve success.

Networking is also one of the most important aspect of a job hunt. Most of the vacancies are not advertised but given out to the referenced people. So connections work, but still you have to be best at what you do.

The following ideas were acknowledged to me thorough this lecture which are important tips for a freelance artist career. Ann John related to practitioners, research of these practitioner work is very important. This will help to get a better understanding at the practitioners. In my BA 1st year it’s all included. High level of skills is developed through a lot of research.

Work Placement

During my work placement NewVIc Sixth Form Collage over the summer 2015, I was shadowing the teachers. In one of the drama classes, the students were asked to look at the performing arts and reflect on what it meant to the student and how could the student gain more knowledge.

The students were put into small groups and coming up with a list of jobs with their group they had a time limit of 15 mins to come up with ideas of what theatre meant to them. I found this very stimulating for the student and I noticed they work well in a team. This mostly helped the students to gain more knowledge of theatre, and if they are interested in a career they can do more research. The students were given homework to look up Greek Theatre. I felt that all the teachers were very well experienced in their field of work and the students responded well to what was set out to them.

As my first time shadowing, I found that this class was very insightful for me and I learnt that drama was being tough to young students to which they very well responded with an eagerness to be willing to gain more knowledge throughout the class activities.

 

Week 9  (24 November)- Skills audit – how to identify your skills

Lecturer: Dr Ananda Breed

I could connect is lecture to one of my class in the school during the work placement. That class was very interesting and in my opinion it was the best as the teacher used voice training through reading Shakespeare at the same time using body movement. This helped the students to stay enforced with what they were doing as the body movement helped them to do the task in hand because some of the students were trying to get the grips of Shakespeare’s work. Also there was use of Peter Brook for creating the act which gave a clear idea of using the empty space.

Team environment helped to work well within the group whereas the directing skills of the students were also used. This class was very useful to open up a range of skills. I have a similar experience at my B.tech diploma of teacher course. What I learnt there is very useful to me even at this stages of my life.

 

 

Week 10 (1 December) Rehearsal and Feedback

Collection of all the research and information for my presentation was done by me. As soon as the work was completed it was sent by me to the tutor, Dr. Ananda Breed, in reply to which I got the following feedback

  • Good overview of the NewVic Theatre Company.
  • In terms of methodology, it might be useful to look at the module guides for NewVic to have a better understanding of the learning aims and outcomes of modules. What kind of projects and/or readings are they exposed to? Any particular productions?
  • Be specific about the ‘communities’ served? Perhaps provide a definition for terms at first usage. In this way, you’ll be able to demonstrate your knowledge and understanding of the field, and or how you’re connecting the presentation to the wider field.
  • You’ve provided a lot of generalities, be as specific as possible. Give examples of ‘learning moments’ to help you expand on the presentation criteria.
  • What does it mean to be a part of an educational setting? What frameworks or standards are used to structure the courses?
  • Overall, the presentation displays evidence of competent handling of the relevant intellectual issues, and some engagement with them. Evidence of some independent thinking. Ideas expressed clearly in oral and written forms. A piece of work which displays evidence of competent handling of the relevant intellectual issues, and some engagement with them. Evidence of some independent thinking. Ideas expressed clearly in oral and written forms.”

So far with my work I mainly focused on theoretical knowledge defining the company. with the help of the feedback I worked more on using specific examples of productions, making connections to a  wider field of focus and including of more learning moments

 

Week 11 and 12

Presentation (8 December) and Reflection (15 December)

By improving on my existing work by the feedback received I corrected some parts and used it in the final presentation. The presentation was a good confidence builder and it also allows you to express your thoughts also with explaining your work. It also give other viewers an opportunity to weigh in and give in suggestions for any improvement.

The tutor feedback after the final presentation was

  • Your example of voice work was good demonstrating an exercise observed from your Placement and then how you adapted it.
  • Evidence of some independent thinking. Ideas expressed clearly  on oral and written forms.
  • Good presentation on your actual placement.

Room for improvements

  • However, you could note further how the Placement had you evolve your o techniques/practices and otherwise.
  • I’m still not sure how their work applies to educational settings or what drama can bring out in individuals (as you stated more generally).
  • Would suggest including documentation of your Placement what did you observe how did you interact with NewVIc, how did the Placement give you a wider understanding of the field? A piece of work that displays evidence of competent, handling of the relevant intellectual issues, and some engagement with them.

Reflection

I was able to engage in a professional work-based learning opportunity through my placement in the NewVIc sixth form school. Creating my work in the school into a presentation  helped me to improve my enterprise skills. Also I got a better understanding of the subject-based knowledge which increased my awareness towards the issues related to it.

Watching the teachers take care of certain situation clearly gave me an insight of how certain techniques and practices can be used with the students. For example, how to teach them to be disciplined, punctual, etc. I learnt what kind of tone should be used while talking to students in different situations. Through out this blog I have mentioned the examples of my experiences with the students.

The work placement included mostly drama classes which had activities included in it where the students have to share some of their life experiences and other students have to act upon that situation. This activity specifically helped the students to share their life experiences with others and re-live it in way expressing themselves.

At some point in the placement I got to interact with the students with the permission of the teacher, where a student asked me a question and I was able to answer correctly with my existing knowledge of drama and its applications. With this I got to understand that the theory which we learn about a certain study is way to different then the practical work. I got an understanding that to be good at any specific job one needs to have a lot of experience.

The work environment increased my self-awareness and helped me to give a better thought at more career opportunities. It enhanced my socially working skills and problem solving abilities.

 

 

 

Term 2
18TH JANUARY TO 21ST MARCH 2016

Week 13  (January 18)- Introduction to Placement:

The class focused on facilitation skills and starting up your own company.
How do you approach the work?

What do you need to know before you start each session?

This session will reviewed the expectations and what you offer as a facilitator making work with non-actors. How do you organize a workshop or residency? This session will help you to set parameters based on Applied Performance practices and current debates. Understanding the role of the participant and the facilitator.
Lecturer: Karen Tomlin / Liselle Terret

 

Week 15 (February 1)- Forum Theatre
Lecturer: Karen Tomlin

How do we begin our work with a group of people?

How do we frame our practice so that participants set the agenda and otherwise?

What does or doesn’t work and why?

Models of Forum Theatre at Oval house and London Bubble Theatre Company Cardboard Citizen

Explain what Forum Theatre actually is

Explain its use and origins

Explain that it’s a type of theater used to educate others to see a different outcome to a situation.

Week 16  (February 8) Verbatim Theatre
Lecturer: Karen Tomlin

Sophie Nield, ‘Is the Tricycle theatre right to put the London riots on stage so soon?’, The Guardian, 3 October 2011. <http://www.theguardian.com/stage/theatreblog/2011/oct/03/tricycle-theatre-london-riots-inquiry&gt; [accessed June 2015]

 

Week 17 (February 15)- Delivery of workshop and class reflection.
Lecturer: Karen Tomlin / Liselle Terret

The workshops introduces to facilitating within a group environment, how to communicate effectively within a team, how to analyses and evaluate, how to structure and set out a lesson plan, how to deliver it.

Sarah Cook – Plan for ‘Clean Break’ Class Session no.5/10

Aims
To begin to encourage participants to move their bodies in a variety of non-naturalistic ways
To explore how changes in rhythm and tempo can affect physicality
To begin to explore using these movements to develop character and a narrative

Objectives
For all students to have engaged in at least one basic rhythm exercise in order to focus the energy in the room and encourage participation
To ensure that each participant has developed a short repetitive movement piece based on physicality alone, following their engagement in a simple movement exercise
To have engaged all the students in a group discussion on character and narrative and the different ways in which their movement pieces could be used in a performance setting

Introduction 2-5 mins
Welcome back! How was your week? Go around circle and tell us what you had for breakfast this morning

Mexican Taxi Driver – having fun with tempo 10-15mins
‘Zip Zap Boing’ – Mexican Taxi Driver version
Zip=’Anderlay’
Zap=’Ariba’
Boing=’Grandes Cohonas’
Tequila – all dance across circle to new position doing tequila dance!
(After a couple of rounds introduce ‘BIGGER’ and ‘SMALLER’ to play with rhythm and tempo and encourage change in physicality appropriately)

Rhythm Exercises 10-15mins
Get the group to send a clap around the circle as fast and smoothly as possible without breaking the flow.
Still in circle, ask the group to clap the ‘football chant’ rhythm along with you until they know it well, then go around the circle one clap per person to the same rhythm, eliminate people if they break the rhythm.

‘Hands’ 15 mins
(Check if anybody has an issue with physical touch/contact – can do the exercise on their own body if necessary)
Number off group into pairs (can have a group of three if necessary) ask them to take turns to place one hand on the other person’s body, and then removing it and placing it somewhere else, until they have 3 moves each (6/9 total depending on group size) and then repeat that sequence until they feel they know it really well (try to encourage them to make each move flow into the other so that the whole sequence loops around)
Introduce elements of tempo change and varying rhythms (ie. Jerky/smooth etc) as they are working with it (explain and use tempo scale 1-5)

Discussion and exploration of narrative/character from ‘hands’ demonstrations 15 mins
Pick a piece and watch it again, ask the participants if they can see any storyline or characters emerging from the piece, watch again with a different tempo and ask the group if that changed anybody’s perception of emerging relationships from the piece. Repeat process with a few more examples. Ask the group if anyone has any ideas as to how you might use the images seen in a devised performance piece, try to engage the whole group in this discussion if possible

Closing
Ask the group to think about one thing that they took from the session and encourage them to share that with the group (maybe go around circle)

Project Two: Neet Project
Lesson Plan
This is a drama and Self-development programme.
Using drama to build confidence and employability skills

Term one – Intro to Drama Skills and improvisation.
Term two – Introduction to Forum Theatre.
Term Three – Rehearsal and Performance of Forum Theatre.

Week 11 – (Term 2/ Lesson 1)

Aim of the Session
To introduce the group to Forum Theatre

Aim Objective Time

Ease the group back into the project and Facilitators presence.
It could have been weeks since they had last attended and any number of things could have happened since that the facilitator may need to be aware of.

Have an informal chat with the group about what they’ve been up to the past few weeks.
Give encouragement and praise for even the smallest things. “That’s great”, “Well done” etc. 5-10
Mins
Get the participants warmed up and mentally engaged.

Pair participants off and play Obvious Observing *
Low group numbers works in the favour of this game and can at a push be done in a three.
One Word at a Time**
To encourage creativity
To develop listening and storytelling skills
To cooperate in group work 10 Mins

10 Mins
Introduce them to Forum Theatre

Look at a short scene from a Script***
Get 2 participants to do a scene with an obvious problem in it. Ask the group at the end what they thought was wrong with the situation and ask them to come up and perform the situation as though it were different. The script should be relatable to the group to increase the chance they would be able to step in.
Targeted Questions
How that conversation could had gone better?
What could James change about his attitude?
What other ways could James access a computer?
Do you think he is just making excuses? 25 Mins

Explain what Forum Theatre actually is

Explain its use and origins
Explain that it’s a type of theatre used to educate others to see a different outcome to a situation. Some Historical input also. Augusto Boal.
5-10
Mins

*Obvious observing
Divide group into pairs and have them sit or stand facing each other. Then ask them to observe their partner focusing on details, clothing, jewellery and appearance, etc. After a few minutes observing they both turn their backs to each other and make three changes in personal appearance (change hair, move a ring to a different finger, unbutton a sleeve etc.) Partners then turn and face each other again trying to identify the changes.
Repeat this process with different partners and different numbers of changes with more or less.
**One Word At A Time
In a circle, the story is started, with each person in turn adding one word. It usually starts with ‘Once – upon – a – time’. The idea is to keep your thoughts free flowing, so that you don’t try to guess what is coming or force the story in a particular direction. It is not always easy to maintain a logical flow for the story, although it is always amusing. If the group is too large, break into smaller groups.
• Another variation is to throw or roll a ball around the circle in any order.
• Add your word as you pass the ball to the next person.
• This ensures that people are more attentive; although you should make sure everyone is included.

***Short Scene

Steve: Hey James how is it going? I haven’t seen you since college 18 months ago. How have you been?
James: Not too bad, I’m just trying to look for work at the moment.
Steve: It’s not easy is it? I’ve just started working with a Construction Company doing labouring. They’re always looking for more people; if that’s something you’d be interested in doing.
James: Not really no. I did a bit of that before with my uncle and didn’t like it much, we just argued a lot. He kept saying I was screwing up.
Steve: I could put a word in with my boss if you want the work?
James: No there’s no point, I probably won’t like it.
Steve: I know that the supermarket near you is hiring checkout operators at the moment, why don’t you submit a CV online?
James: I don’t have a computer anymore. My old one broke. I probably wouldn’t be very good at that anyway.

Maeve Morgan DE16
Lesson Plan
Project Three

2nd session – 60 mins

Stimulus: Jack and the Beanstalk

What I want the group to get from it: to encourage creative learning and independent improvisation

Lesson objective: to think creatively and expand upon ideas

Warm up
Busy Bees – 15 mins
Letter association game. It promotes independent thinking within a certain time frame and encourages inventive ideas.

Discussion – 5-10 mins
Name the lesson stimulus: Jack and the Beanstalk.
Questions raised to the group: Does everybody know the story of Jack and Beanstalk? Who can tell me how it starts/then what happens/how does it end? Etc.
The Beanstalk starts as something small, in the form of beans and people don’t believe they are important but they grow into something magical and great. Can you think of anything else that does this? Something that starts small and becomes great? If you were given seeds that could grow into anything what would they be? Save ideas for the next exercise.

Group exercise part 1 – 5 mins
IN GROUPS OF 8 WITH A SUPERVISOR FOR EACH – MINDMAP IDEAS
We will then share these ideas briefly with the whole group.

Group exercise part 2 20-25 mins
Then the groups of 8 will pick 2 of their favourite ideas and the group will be split in half (8 groups of 4). I will ask them to then create an image of the idea growing in these groups, lasting 10 seconds from planting to blooming). I would then ask each group to show the whole group their image, and they would offer up what they liked about each group.

Warm down (if possible) – 5 mins
1, 2, tag

Reflection – 5 mins
Rose and Thorn

Primary School Project
Session 4
Aims:
• For the group to work successfully as part of a team.
• To be able to discuss their ideas with other members of the group.
• To develop their drama skills.
• For them to be able to begin to appreciate theatre and discuss what they have seen
• For them to be confident in presenting their work to the group.
Objectives:
• Encourage them to communicate verbally and non-verbally to work together towards a common goal.
• Put them into small groups to discuss the tasks.
• Encourage them to exaggerate facial expressions and postures whilst in the tableaux.
• Asking them to give positive feedback to each group.
Team building game 1 – 5 mins
1) Get yourselves into a height ordered line.
2) Get yourselves into a height ordered line without speaking.
3) Get yourselves into a line ordered by house number (lowest to highest) without speaking.

  • This will give the class the opportunity to work as a team, by working together to achieve a common goal. By them not talking in the later ones, it will give them the chance to be focussed for the task, but also for the rest of the session.

Team building game 2 – 10 mins
Penguins:
Chairs are scattered randomly in the room with the participants sitting on them. One chair is spare, and one participant is standing up quite far away from the spare chair. The aim of the participant standing up is to get to the spare chair and sit down. The only way they can reach the chair is by waddling over like a penguin. The aim of the rest of the class is to stop the penguin reaching the spare chair. They do this by running to the spare chair, so the penguin cannot sit down on it. The penguin keeps on going until they have reached an empty chair. If the penguin sits in an empty chair, the person who left it is the new penguin.
• This game will help with the team building element of their project aims, and will provide grounding for beginning to respect others (which they will have to do later on in the class).
Introduction to the story 5 mins (probably less)
“Jimmy was very happy when he received brand new football boots for his birthday. He proudly took them into school and hung them on his peg, ready for football training after school. At break time, Jimmy showed them to his friends. At lunch time, Jimmy checked to make sure his football boots were safe; they were. After school, Jimmy went to his peg, got his bag and made his way to the changing rooms. In the changing rooms, Jimmy opened his bag, but the boots weren’t there…”
Group task (4-5’s?) – 15 mins
Pick a significant moment in this story and make a still image (tableau) about what has happened. For example this could be the moment where Jimmy receives his boots for his birthday, the moment where he shows his friends, or the moment he discovers they are missing. You can also add in other characters such as parents or teachers.
Teacher questioning could include:
v How can you use your body to convey Jimmy’s mother/father?
v What facial expression can you use to show Jimmy’s happiness at receiving the boots?
v Audience – is there anything they can do to improve what they are trying to convey?
Whole class task – 5 mins
The whole class stands in their tableau positions (in their groups). They take a minute to think about a sentence which their character might say in this situation. One group stays standing whilst the others sit down. Some characters from the group still in their tableau will be tapped on the shoulder. When I do this, they will say their sentence. We will watch each group.
Teacher questioning/guidelines:
v Think about the emotions that the character is feeling at this point.
v Do you think your previous tableaux position reflects their emotions?

  • This exercise will help the participant’s to empathise with the characters and to see how through a still image, drama can be brought to life. It will also ease them into performing for the rest of the group (it is not as daunting as they are not arranged as an audience in a line, and they are only in a still image).
    Small group task – 20 mins
    What happens next? The rule is that Jimmy must find his boots.
    In their groups, they will discuss the possibilities about what could have happened to Jimmy’s boots, and find a resolution to the story. They will devise a short piece (approximately 3 minutes) which tells their idea of the story.
    Teacher guidance:
    v An example of a scenario could be that a jealous friend of Jimmy has stolen them, and then feels bad for his actions.
  • This will encourage them to discuss their ideas in small groups (this can sometimes be easier than speaking in front of the whole class).
    Presenting their work – 25 mins
    Each group presents their piece to the class. The rest of the class will sit as an audience, leaving a stage space for the performers.
    • This will help them to appreciate, on a small scale, the theatre setting and conventions e.g. audience, stage space etc.
    Feedback and summary – 5 mins
    Ask the participants to reflect on the performances they have just seen by giving one positive point about each group. Briefly summarise/re-cap what techniques they have learned and remind how they have applied these to their performances.
    • This will help encourage them to be appreciative of each other’s work and begin to analyse what they have seen.

//SAMPLE LESSON PLAN //
Session 5
IDENTITY AND YOUTH!

WELCOME – Length of session: 2 hours with 15 min break.

Introduction to sessions and names / roles of facilitators on project.

WARM – UP – 20 mins
Name game to energise and break the ice.
In pairs – find out two things in common you have with your partner, and two things that you don’t have in common. Relay back to the group.
Walk around the room. Find someone you don’t know and find out about his or her name. What does that persons’ name mean?

PART 1 – THE EMAIL – Display email on overhead projector – 45 mins
Open up discussion about the mysterious email received by the group. Email includes provocations around ‘young people’ and other statements. The email could also include other ‘clues’ such as an address, telephone number, or attachments.

TASK – Work in groups to write an email reply!
EXTENSTION OF TASK – Find a way to dramatically stage your email response and present to group.

BREAK – 15 mins

PART 2 – Recording and sending the emails. 20 mins
TASK – Send the email responses off ‘live’ in the lesson.
EXTENSION OF TASK – Either they must be actual emails or scripted ‘dramatizations’ of their emails, filmed or audio recorded.

WRAP UP!
Reflect on the content written and produced during the session, what did people think? What were people’s favourite bits?
What did people think the email meant?
What will happen next?

FINISH
Introduction
Year Group: 3 Class Size: 32 Ability: Mixed Lesson:3
Learning Aim – To use a variety of drama techniques to explore the story ‘Peter Pan’
Learning Objectives 1. To identify the key elements of Peter Pan’s story
2. To create a fairy tale character, improvising through laughter and fun

Resources Background music from the film, power point, visuals, images
Key Words Peter Pan
Captain Hook
Exploring the main character
Entrance: Pupils to take off shoes and sit around the PowerPoint
Timing Lesson Content Differentiation AFL
10 min

10 min

15 min

15 min

5 min

Total:
55 min Starter:
Get PowerPoint up of Peter Pan

Activity:
Warm up with a ball
Get people in groups
Say your name and say one character from Peter Pan and then pass the ball around.

Improvisation
Being in groups
The leader says make a
Bottle of poison
Pirate ship
Crocodile
Mermaids
Lagoon

In the count of 3 which comes to life

Improvising
Continues

In the characters they are now ‘the lost boys playing in never land ’, they explore how the characters might move and how is the environment which they are in.

Differentiated questioning

Class discussion (ZPD)
They recognise the story and characters and have fun learning their names and showing they counting with a character from Peter Pan

Team work

Develop understanding of the characters

Having fun and getting to know each other

Aid weaker pupils if needed.

Help give weaker pupils ideas
Teacher observation

Teacher observation

Peer evaluation and teacher feedback

 

Teacher observation

The understanding which I go from this class can be linked by me to one of the Drama classes in my work placement. The Devising unit encouraged students on the marking system so far. For example if a student was late then the student’s work would be given a lower grade but if the student had good attendance then they would get a higher mark. This was very good for the students to understand the importance of time. In the outside world the lateness would not be tolerated. I found this class very stimulating because it was teaching the students the life realities of working within the industry.

newvic 1

I had to deliver a lesson plan, the lesson plan was on for primary school about peter pan and fairy tales. As I delivered the lesson plan Karen stopped and corrected me and gave me information about how to evaluate and change the way how I was doing it, which was very difficult.

What I learnt from it that when I set up a lesson plan is very different to what happens practically and may not work. So there should be thoughts of how can I incorporate thinking on my feet when things don’t go right and how can I change it in the very given moment.
Overall, it was a very good insight for facilitating within a teacher training skills.

Week 20 (November 17)- Designing your own company
Lecturer: Abdul Shayek / Liselle Terret

The sessions with Mr. Abdul Skayek basically concentrated on knowledge regarding building up a personal company. It had useful insights as it included all the relevant information about all the processes. Learning of this theory helped to have a better understanding of any problems that the companies might face before getting set up and also after that.

Finding out the similar companies who offer the same thing as you do is also essential as it gives a sense of in what ways our services can be offered. Knowledge of the competitors internationally is also important, as it keeps on updated with the latest trends.

Assignment: Create a company name, logo and mission statement. Create roles and responsibilities of company members.
Company name: Open House

Logo: {o}

Mission Statement: ‘The transition of open house is to open up the doors and invite youth and give them the opportunity to learn how to devise and create theater, alongside opening up emotional content to express themselves and give them a voice so they can self-evaluate what they can do with drama themselves. This also gives them the opportunity to facilitate themselves so that they can understand drama from a different perspective.’

Roles and responsibilities of company members:
1. Assistant: To keep record of the daily activities and maintain the smooth running of the organisation

2. Director:
• To determine the company’s strategic objectives and policies
• To monitor progress towards achieving the objectives and policies
• Accounting for the company’s activities to relevant parties, e.g. shareholders.

3. Artistic director
• Hiring, supervising and evaluating artistic personnel including directors, performers, designers, and stage managers
• To develop annual program budget
• Act as a spokesperson for the organization’s artistic purpose via speaking engagements, public and social appearances, and, as requested, at fundraising events and solicitations

4. Management and associates : To look after
 marketing
 finance
 administration

Assignment: Tricycle Theater

1. Who does it serve?
A devised and diverse cultural community.

2. What is the mission statement?
“The Tricycle views the world through a variety of lenses, bringing unheard voices into the mainstream. It presents high-quality and innovative work, which provokes debate and emotionally engages. Located in Brent, the most diverse borough in London, the Tricycle is a local venue with an international vision.”

3. What is the structure? Legal? Staff?
The Tricycle comprises a 235 seat theatre, a 300 seat cinema, a café/bar, a large rehearsal studio, a visual arts studio for educational use (the Paint box) 2 and two workshop spaces: the James Baldwin Studio and the August Wilson Creative Space for educational and social inclusion workshops.

4. What is the history/ timeline?
The Tricycle Theater opened on the Kilburn High Road, London, in 1980 as the permanent home of the Wakefield Tricycle Company, a touring theatre company that was known for producing British premieres, new writing, children’s shows and theatre for the community in London and the South East. The Wakefield Tricycle Company had been started in 1972 by Ken Chubb and Shirley Barrie, performing initially in a room behind the Pindar of Wakefield pub in King’s Cross.

5. What is the USP?
Cultural diversity and theater for the community.

Questions in terms of an organization you might want to set up:

6. Who are you? Why do you want to do this type of work?
I am a Drama teacher who would like to give the opportunity to facilitate and give evening classes within the community for age ranging from 11 to 18. I want to do this type of work because I want to open up the opportunity within the community to show how diverse drama work can be and to give this age range the opportunity to act and find themselves through drama skills.

7. What is that you want to create?
I want to create an open house of opportunity that all young people can have the chance to experience and understand what drama is about their individual input is very important.

8. Why do you think it’s needed?
Because it opens up opportunities to make the individual person feel what matters within drama and how they can contribute which will make them feel different which will make them doing these activities.

9. What kind of structure do you want? What resources, knowledge and facilities do you need?
The structure I need is experience within facilitating and creating ideas and higher level of education in this area.

10. Who else is doing this type of work? Who is your competition? Who is your audience/ service user/ participants? How are you serving them?
At the moment I am doing research regarding this and it is not too clear as it is in another country (Malta).

11. What is the social impact of your work?
Such kind of work could open opportunities to the participants learning their craft of drama can change the way how drama’s perspective is looked at. For e.g. giving a statement of something that needs to be changed which can be looked with different eyes.

12. Short term vision and long-term vision –

Short term vision is to get my company established in the 1st year and very well-known to the media by social advertising and through educational establishments like schools and to start small and build up gradually.

Long term vision is work continuously with the educational sector and to have my own building for the business.

13. Tell me where you are? Tell me where your company is?
I am in Malta and my company’s name is ‘Open House’ and my business is situated in Valetta, Bijuba and Mosta. At the beginning the company wouldn’t have a single base as we would move around.

14. How many people do you hope to engage, think about participants, audience members and artist!
To begin with there will be myself and then I will engage an assistant, a director and then an artistic director and management and associates. Audience members to begin with will be the family members but once we are established it will be all different types of people.

The above activities helps to get a rough thought of how I want my company to be. We have also looked at the example of the Tricycle theater which help to connect links and get a better understanding of designing the company.

 

Week Twenty-two (March 14)  Funding

Lecturer: Abdul Shayek

Funding is one of the most important part when it comes to setting up your own company. Arts council provides funding for certain organisations. For e.g. Oprah house, South bank house. There are also private donors and the company offers things like meetings with the actors etc. to them in return.

A Breakthrough fund is a type in which one can’t apply for it but if there is good word-of-mouth about some people, they might get an invitation for making the application.
It’s just not art related but there is a wide range.

Individual companies have got a lot of money invested in London. London has around 7 to 8 million people and is like a central attraction .Look local reports and see who is funded them to get a brief information. It’s hard to attract funding other than arts council and specially in London. Redbridge, Ilford and some other areas have art centers. For creating something new in specific areas, there should be a good knowledge of where people might shift. This can be analysed by observing the area for e.g. take a look into the area after the school times, that’s when you get a sense of it.

Local borough council also helps for certain funding. Once there is something in place, people can pull in. But generation of interest is very necessary. To get more information about funding in the local area, find out who is the arts counselor of that certain area.

Look at the British council for overseas work, which gives the details of any international project as it has funding available for overseas work. The relationship manager can help get this information.

What I learnt from these sessions and activities is that anticipation is very necessary in the undertaken field for work. It gave me knowledge of how I would make a funding application to the Arts council and after receiving the money there should be a careful management it.

 

Week Twenty-three – March 21

Theme: Evaluation and Reflection

Including the overall reflection on the module, instructions on development of the portfolio were explained.

The sequential flow of information and thoughts process should be included which would show the benefits and the learning outcomes of the portfolio.

 

WORK PLACEMENT

14/9/15 VOICE TRAINING – Triche Kehoe
Warmup necessary
There was activities carried out in groups of 3 where students were handed out a paper with questions and later on there was a talk on what they did learn from that
1. What is theatre?
2. What experiences can they think of about theatre?
His helped the students to bring out their understanding about theatre and to learn more about it.

DEVISING
The class was about setting up how things will work in further days regarding the discipline and homework.

15/09/15 VOICE TRAINING
There were 22 students in the class
Learning outcomes
• Body movement activities
• Recap from last class
• Building on how he writer communicates
There were group discussion activities and the students were asked to direct their own work.

DRAMA
Starting with a warm up
Learning: how movement and expressions should be connected
Activities:
1. Taking stage direction
2. Talking to the audience
3. Connections with the actors around

16/06/15  DANCE CLASS AND MUSIC -by Zuri Thompson
• Brief information about dance history
• Explanation and contribution of different race people
• Discussion of different pieces of work. E.g. Alvin Alley
• Types of dance forms discussed- Ballet, African dance, Jazz, etc.
• Thinking about different pieces of work and analysing the issues they faced.
Types of musicals
Lamb God by Bob Gardner
Golden Classics
Once upon a stable

17/09/15 DRAMA
• Games, activities and acting worked on in this class
• Working in 3 groups learning about the actor- director relation
• Working on how one would experience the physicality of the character within the actor
• Using specific tools for specific scenes

DANCE AND PERFORMANCE

LEARINGN ABOUT
• Wearing the correct attire
• Choreography
• Responding
Personal skills
Attendance
• Time management
• Readiness to work
• Listening to the instructions by the director
• Discussion of scope and different jobs

18/09/15 PERFORMING ARTS
Questions and discussions
Use of voice
Vocalisation
Importance of warm up
Use of musical instruments

DRAMA
Research on the planned work
Have detailed information reading your undertaken Project.
There was Q/A in the class and then the students were made to share thoughts with each other.
Explanation of assessment and marking.
Learning of different emotions
Activities to get a better understanding of playing different emotions.

DEVISING
Techniques and application
• Constraints
• Sound capes
• Word capes
• Tableaux
• Building a collective narrative
• Improvising

21/09/15 DEVISING -by Tim French
Topics
1. Control and thinking
2. Exploring the consciousness

PERFORMING ARTS
Tasks
• Activity in groups for warm up
• Different groups working on different concepts
• Self-direction
• Time management
22/09/15 DRAMA -by Triche Kehoe
Warm up
Learning different body movements
Head movements
Vocal cord warm up
Corrections session
Tongue twisters
End of the class there were activities performed to sum up the covered topics in the lesson

PERFORMING ARTS -by Tim French
Warm up and games played in the beginning of the session
Learning objectives
• States and space
• Audience
• Expressions
Group activities relating to the above topics
Learned theatres
• Promade theatre
• Invisible theatre
• Site perceptive theatre
Expressions
• Shapes of faces
• Transition
• Usage
• Group work

24/09/15 PERFORMING ARTS
Topics
• Actors
• Analysing of their important roles
• Devising
• Learning a song
• Practice

DRAMA
Topics
• Warm up
• Teaching of a song
• Acting practice
• Dressing up
• Dance movements practice
• Finding a job
• Suitability
• Exam
25/09/15 PERFORMING ARTS
Learning topics
• Positive attitude
• Language
• Acting
• Exercise
• Working in pairs
Summary
1. What did you learn from the content of the play?
2. What made you more connected to the actors?
There were discussions over the above questions and the students were asked to share thoughts with each other.

 

Solo Performance

Doing Research in Theater and Performance

What is Research?
We can define research as the systematic process of collecting and analyzing information to increase our understanding of an issue. All the things involved must be systematic, mandatory and should be step by step analysed and organised. Getting well involved in the subject and longer engagement both the things are very mandatory. The framework of the subject has to be set and it should be made sure all the aspects of that certain area are correct. They should be a network of where subject and matter  go together.

Devising Theater

Chapter 2 The Beginnings How and Where to start
The Beginnings How and Where to start was a great incident for me as a drama student. It explains how devising the beginning is the interaction between the members of the group. This helps a lot for going along the group processes. They use various ways within the company such as devising process which makes it challenging for the group members, doing the ongoing work on different levels and also cooperation within the group members. The outcome of this was affiliation and unity at the same time. Working united sometimes get difficult if there are any ongoing conflicts within the individuals in the group. But if the group discovers the relationship between them, then the actual production of work begins. When the group members are starting to devise theater, there must be trust and openness between them. There must me diplomacy included. Each member should be able to show their support and sensitivity towards the group. In this way the group will be able to communicate totally. Individuals must give in their personal involvement within the investigation, so that the group is able to explore better. When the Devising process is in the early stages it is very important that the group experiments and develops themselves using stimulus and communication.Devising Theater can also be seen as a shared common purpose. For example– Working with homeless community or using site specific outdoor theater as a combination of instinct and experience.
To gain process experience students should do workshops as this enables the student to understand group dynamics and investigating the content alongside the chance ‘To be director and be the outside eye’. This is needed very much to lead the group overall. The structure was set at alcoholics anonymous ‘open meeting’. The serving of tea and biscuits was used when the actor was interacting with the audience. This put the audience in a interactive setting and the open meeting was on. The subject of alcoholism in women in society was being discussed. This clearly gave audience a role in the ongoing process.The audience was not allowed to sit comfortably within the lecture theater. The characters sat within the audience which made the audience fell like they are a part of what’s going on.
How does theater grow from a literary text to director in performance and the stimulus for story telling focus on actors within the group?

Origins: Mark Long said to consider the start of the show as to link the beginning to an answer so that the areas and the place in the setting correlate. For example- In the starting point while doing the show, one should set up a picture or a line in some particular book. During the 1930s, the elderly people seemed to be appreciated by all as the joy appealed from recognition and realization of passed memories within the theoretical form .Selection of a theme and it’s storytelling to group members gets included in the form of memories, which may also be recorded on tapes. This was used by the actors which is a very strong link to the audience.

Anna Deavere Smith Final Project

Anna Deavere Smith used a story that was known to her by people’s telling. She used the subject of race at the time of racial conflagration. She also witnessed the Jews and the Black’s in crown height in the fires. The event happened where Rodney King was beaten by police in Los Angles. This brought a new life into it. She worked as a journalist during 1996 presidential elections. She gave the audience the stepback and step in stimulus around by using recognition. But in here she used an unfamiliar territory.
Anna used the Rodney King experience to think how justice system works. She has a gift in using props and using them by undoing and overdoing. She has not been on stage as herself. She is a theatrical wizard who magically connects the ‘I’ and the ‘We’.

Documentary Solo Performance,The politics of the mirrored self
By Jonathan Kalb
During the mid 1995, when the final disintegration of the Berliner Ensemble lift the sole leader Heiner Muller, was once loudly insisting that Brect was out of date and the paradigm were ‘Idiots’ and Muller had some good Brect projects in mind to use in the near future, but it must have to be approved by Brect heirs first. “That because Americans are all innocent” the most difficult audiences in the world. This contained a truth that went much further then Brect in regard to political theater within the United States. Guy Deborah used the term “Society of the Spectacle”. This was used 33 years ago which started to come from US and then to the rest of the world after the second world war.
The use of documentary has a powerful response to this and the artists seemed to fuse a psychological compassion with identification. Brecht may not approve of the finding of it. All the artists on the Kalb mind have explained this type of performance very well and in here, which used an elementary debate on public receptivity to politics and critical thinking.

precis for Politics of Memory

POLITICS OF PERFORMANCE AND MEMORY MONTH-

OCTOBER 2014

THE GENERATION OF POSTMEMORY OCTOBER 14

There are two different kinds of memory, communicative memory and cultural memory. Communicative memory is a memory which is shared. It is a memory and experience shared between two or more people, usually a generation within itself. A cultural memory is defined as a memory that is personal, and passed down to forthcoming generations in the family. Post memory- This is the memory of those that weren’t at the event themselves and therefore didn’t go through the experience but feel as though they did due to the families passing the memory on to them. The memory of the event is passed down to the next generation who then have two options. One, they can either follow through the experience shared, meaning they take it on as their own experience. The slave trade can be taken as an example, some members of the black community have a negative attitude to some of the members of the white community, because of how their ancestors were treated, still there were some who embrace their identity, have knowledge of their culture and are able to forget the experience to their ancestors. A similar example can be of the holocaust, an event in which many Jews, and those from other cultures were killed, and very little survived. (Hirsch herself being a second generation survivor) Families have an important role in post memory context. It is the families that pass on their memories, traditions and experiences to the next generation. However these experiences are at risk of taking over the lives of the new generation and allowing their experiences to control their lives, changing and shaping their own personal experiences. There are some advantages and disadvantages to this. Some cultures are based on stories that are passed down and these experiences become a part of the culture. In addition, the saying “you had to be there” applies here. There’s a very huge difference between being there and simply being told. They are completely two different things It is also known that post memory brings about imagination and creativity. This is because when the stones are being recalled one can only imagine what it was like because they were not there themselves. This means the imagination and projection has to be used to create the imagery of the event in our minds. Even sometimes it does exaggerate particular parts. Photography also plays a main part in post memory. This form of technology produces evidence allowing the memory to be even more believable. Photography allows us the opportunity to see the past and sometimes bring it to life again. Even if we feel close to these memories as they were close to the generation before us does that give us the right to claim these memories as our own? Can they be adoptable into our own life stories?

Bodies of Evidence

“Contemporary documentary theatre represents a struggle to shape and remember the most transitory history.”

Theatre can be used for the performance of these events which gives us the opportunity to discuss this event and the talking about it may make people feel uncomfortable that surround it, as simply masking the issue with a performance also allows documentary theatre to cross over into the boundaries of history. Documentary theatre interrogates specific events that occur in society and presents us with the opportunity to change history as we know it. Technology plays an important role in documentary theatre and is a very easy as well as simple way to transmit knowledge. In documentary theatre, technology and postmodern things meets oral theatre culture with the hopes of mixing them together to retell what happened. The actors that are portrayed are often no longer around “absent, unavailable dead or disappeared”. They are represented through technology or other actors. Documentary theatre finds a whole new world in stories that surround a particular part of history and tries to change the history a little bit. There is this element of correction and fixing of the broken pieces of what we’ve been taught. All the details in documentary theatre are important. The archives, selection, editing, organisation are chosen for a specific persuasive reason or purpose. It is important to establish that nothing is overlooked. The process to creating a performance in this type of theatre is as follows, there is the behaviour, archived records of behaviour and the representation of behaviour as a public performance. Documentary theatre can also be seen to be similar with the ideas of Richard Schechner’s ideas and discoveries: 1) Restored this is the idea that the future creates the past. People act accordingly to ensure the future is what we want it to be. In d theatre, the piece is constructed in a way to ensure a particular type of feeling and emotion at the end. All the pieces are usually of events that have happened in the past. 2) The “not” and the not – the actors are both playing themselves and the people they represent. So they “not” playing themselves but they are “not not” playing themselves. 3). Twice behaved behaviour- so in cases the actors would have to behave the already “behaved”. There are 6 main functions of documentary theatre 1) to retry trials in order to critique justice. 2) to create more historical events. 3) to critique the operations of both documentary and fiction. 4) to intertwine an autobiography with history . 5) to reconstruct a historical event or account. 6) to briefly describe the oral culture of theatre.

PERFORMANCE REMAINS SUMMARY

Performance is ephemeral. It doesn’t last very long as it is short lived and transitory. Different cultures have different ways of saving theatre and performance. To some more extreme, than others they are saved nonetheless, and the archive is created as a way to preserve and save these performance. Archives are however a very esteem way of thinking .That is interconnected with power dominance strength and control. In many cultures, oral stories are passed on from generation to generation to keep the culture alive It is very hard to follow the ideas of these archives as we can be seen to be buying into the idea that it is the only way to save a performance, but it is not. Archives in this way overshadow the memory and other methods used to save a performance. This is simply because people look to the archives to tell them their own memory. They have faith in what they remember and the archives to be correct. But there are other ways. An example would be oral stories. We all felt a certain way and the way we felt simply a response to the feeling the teller was conveying. For each was person this was different, however this is an experience one cannot gain from an archive. The class experienced the performance together which was magical but we all saw a different performance due to our subjective minds, making the experiences slightly more personal. So what happens if the body itself becomes an archive? Dances or strict practices of performance that more or less remain the same t history such as ballet, in ballet there is compromise. Either you are doing it correctly or not, because the principles no don’t change. Can this be considered an archive? What about performance? Can performance itself be archive? Why not! Watching a performance and constructing a performance on top of it from memory allows the performance to be an archive and a memory. It is not the performance itself but simply a representation of it. This can be inconsistent and incomplete, but one could that an archive shares the same traits as archives can be edited and argue changed.

Representative of Memory, Performance and Archive

Four groups were involved in this. Every group was given the opportunity to share their groups work, it was very interesting to see how the groups we did see interpret the tasks differently. Yet we all saw the same kinds of things into their work. Group One went forward and took a creative and standout approach. They used their peer and adding a comedic element which brought the piece to life. As the two gentlemen in the performance danced gleefully (representing the performance two of the females within the group recorded the dance using their phones and imitated the performance representing the archive) and the last female of the group sat and watched, enjoying both of the performances being played out front of her (representing the memory). The two females that recorded the original dance piece used the recording to copy the gentlemen, and almost tried to get the moves exactly correct which they were not able to do. This was in good representation and well analysis of the three as it showed how the process works. This bring out how archives work, as archives as argued by theorists do not always capture the complete essence many the performance, which we were able to see firsthand as an audience. Group Two however took a more non fictional direct approach one of the performers walked into the performance space and did a series of moves that were normal and consistent. When this was happening, the only gentlemen in the group recorded the movement while looking away. Another female simply watched the movement and the last female drew each of the movements conducted. After the initial performance was complete, the three recording the piece went into the performance space and it was their ob to repeat what the initial performer performed. The group member drawing and the group member using memory completed the movements, but weren’t precise. The recording failed and therefore the gentleman was unable to conduct the movement. Again this shows how archives work. The recording failed, showing how archives can sometimes be unreliable. The memory was changed to suit the reference of the performer. One could argue this would be the same as considering memory to be unreliable because it can be changed or altered like Chinese whispers. Finally the drawing was unable to catch the moment precisely as it went by so quickly, showing how quickly a moment can go within a performance and not even an archive can capture it. It was easy to understand all of these concepts after the readings and presentations; however the performances put these ideas into perspective and showed the pros and cons of each. As stated previously, all the groups were not able to show their interpretations so until next time.

Caroline Golder and GAC

What is a activist demonstrative group called particularly in South America, who use their art in the protests to make it more effective, in order to make a change in the society………… Carolina Golder one of the main activists a part of the project joined us in Politics of Performance and Memory class on the 6th of October 2014. Carolina Golder was in the country for the Disobedient acts exhibition taking place in the V&A (which will go and see). Carolina Golder is a member of the GAC group in Argentina, a group that uses art to get the attention those in Argentina who are unaware of the issues going on in the country. “Alert, alert, alert to the neighbours there’s an assassin living next to you.”,“Si no hay justicia, hay escraches.” – These were the messages being painted on walls handed out on are only two exam pamphlets, being pinned up on signs and walls and being shouted all in the streets of Buenos Aires. We only had a little amount of time in the class but she gave us quite a lot of information about the movements she was a part of and the impact that had on the society in Argentina. The invasion project took place between 1976 and 1983. There were three main symbols that were being stuck to lampposts, buildings, floors, sign posts and wherever else that had had a second flat surface. The first was a bomb, which represented the economic organisations that were the missiles which represented journalism and thirdly there was to soldiers which represented the security. As seen in a video on YouTube, one of their acts of protest was to group climbing to a high building and dropping toy soldiers with parachutes to the floor in broad daylight. Hundreds of those things were being dropped onto people and cars. People began reaching for the toy soldiers from their office windows, cars stopped to get a few off of their windshields as well as people of the streets grabbing handfuls. Carolina Golder stated that these people were not her friends or enemies and that their grabbing for the toy soldiers was a very childish act. She also told us that their relationship with the police was based on negotiation, her defence being -it’s just art. Additionally she informed the group that Buenos Aries is polluted by advertisement so these protests were easy construct without being too much of an intervention. It was great to have such a demonstrative and intelligent artist who had influence on the people joined us and I hope to keep up to date with her influential work.

Politics of Memory – Bethnal Green songs and other research

Below is a link to the website where I got the songs for our performance:

These are two links to research I did in regard to what happened that night in Bethnal Green:

Politics of Memory – Groupwork for Bethnal Green

Olivia and I went on YouTube, and found and chose all the soundtracks and backing music for our piece. Then Shakira, the other group member, just put them into the order that I wanted them and emailed them to me.

I met up with a student producer on Friday 13th March 2015. Together we set up the music that is going to be used as a backing track for the piece, putting it in the right order.

Olivia and I are doing the stage tech run today (Wednesday 18th March). Andre, a group member from my drama group, has kindly agreed to do the technical support needed for the day of the performance as Jay the technical advisor is not available on that day.

Olivia and I created the Powerpoint together. I used all the research I obtained from the Bethnal Green archives. I did all the research for that part alone. Olivia and Vicky read through some of the newspaper reports I obtained and suggested what could be included.

I was asked by the tutor, Eve, on Monday 16th March to include Mary in our group as she didn’t have a group already. I had to create a new character within the group so she could take this assessment. I used the Bethnal Green interviews. When I went home Monday night, I looked at all the characters within the group and linked the characters with extracts from the interview transcripts using colour coding to identify which character the extract related to. When we come to perform it, we can look at the interview transcripts like a play script so we know when we need to come in.

The next day I gave the other students the interview transcripts and the words to the song that we are going to sing – I’ve got a lovely bunch of coconuts.

We still have to produce one liners that fit into the time of World War II but this is an ongoing process.

First possible one liner:

Question: You know what?

Response: No

Answer: You’re barmy!

I went to visit Jay for a tech rehearsal for my other module – Applied Children’s Theatre. I had a brief discussion asking him about what I could do for the Bethnal Green performance because I wanted to create the atmosphere of being in a dark tunnel.

Previously on my HNC course, I did a course where we used torches to produce the atmosphere of being in a tunnel. I wasn’t sure if we would be able to do this again. I asked Jay for some suggestions and he suggested using torches, so I decided to go with this idea. I’ve asked the group to bring in one torch for themselves and one for an audience member so the audience can participate and light up the actors.

We are also going to use props. Through the research and photos I got from the archives, it showed that slapstick comedy was popular during that time. Men dressed up as women using aprons and balloons, and tea towels on their heads as scarves. They used to do this type of slapstick comedy to keep people’s spirits high and bring out community spirit. Going into the shelters at night was a regular occurence, and scary and unsettling for most people. I thought it was very important, as the main idea of the piece is to show community spirit and the emotional content which is the main body of the whole piece, to show how emotions can be developed through theatre. I wanted to show the devastation of the bombings and how sadness showed through the stories of the survivors and what happened to show the survivors respect through story telling.

Olivia and I researched on the internet. We found newspaper clippings about March 1943, reports of the disaster which were published afterwards. We are yet to copy that off and will make the paper old by dying it with teabags to get the effect. We are also going to make a sandwich board advertising what happened on that disasterous night. Also the actor, Olivia, will be giving out newspapers to the audience as they would have done in those days.

The props we are using are balloons, aprons, torches, a tray, cakes, army uniforms and hat, policeman’s whistle and hat, newspapers and sandwich board.

Politics of Memory and Performance – Group meeting about performance

These are notes which show development within the piece.

Monday march2

This assessment is about practice as research and about staging the research. Its not about working creatively but working creatively in the archival research

Documentation= Its about how to demonstrate the research and how to use the projections, audio and soundtracks in it.

  1. Focus on actual storytelling
  2. Create a performance in a way to tell the story
  3. End of the hour the structure should be ready
  4. Focus on the quality and not the quantity
  5. Be specific

Tasks

  1. Find airway signal sounds
  2. To go into the shelter in the Bethanal Green
  3. After going down the stairs, we will find a lady in the shop
  4. Newspaper for the World War 2( news bulletin after the disaster)
  5. Will hand out the newspaper to the people for engaging the audience more
  6. Ballons and apron as the costume, will include couple of songs. And there will be singing and movements like old times
  7. We will bring in that how do we get out of the shelter
  8. Panicing and screaming and echo sound effects can be used

To do list

  • Find the pictures of the body and if we dont we can use the pictures of the bodies which are covered
  • Lighting – it has to be like the underground station and it can be reflected on the black curtains and can add the element of sound there in the performance.
  • Act for 3 mins stop and then talk about it, this will show that a lot of research is done
  • Interlinking the powerpoint and the archives can add a bit sarcastic jokes like ‘a lovely war’
  • All the things which reflect the situation at that time should be added in the performance

Songs

  1. Billie holiday- I’ll be seeing you again
  2. Vera Lynn- We’ll meet again
  3. Vera Lynn- Land of hope and glory
  4. Its a long way to tipperary/ pack up your troubles in your old kit bag- Robert Mandell
  5. I got a lovely bunch of coconuts
  6. Sound effects- WW1 or WW2
  7. Intense crowd panic/shooting/ scary sirens

Monday march 9

Lighting

Stage direction- Its always from the point of view of the person standing on the stage

  1. Front light– Also called as general cover( basic light)
  2. Back light– It is a bit more dramatic. It gives a 3 dimensional effect. It makes the stage feel bigger.

The back light looses the blue black light if the front light is added to it.

So the actor stands on the blue light and is in the yellow front light

Every time the light reflects, it loses something

  1. Side lights– It is good for lighting shapes, it picks up all the lines and features on the body.

It is in 3 levels-

  • Shins – If the performer is lying on the floor
  • Mid- It is between the neck and hips. It is for someone walking on the stage from behind. This side lights are for more physical theater.
  • Heads- From shoulders upwards . This type is for individual lighting
  1. High side light (from both sides)- It brings more emotions out with the help of lighting.
  • Light colours are very good at reflecting the light. Also depends on the colours of the costume
  • Use colours matching the clothes, than they will stand out.
  • If there are two performers acting , both should not stand in a same line with the light , because than the other one will get in the shadow. Just change the line position.
  • If designed well, the shadows can be turned into performers. Using the lighting , the essence of non-real things can be brought in the performance.
  1. High upper lights

For highlighting the performance if necessary.

Stage directions are not factual.

  1. Spot light– Light come in a cone. So depending on the height of the actor, the standing position should be managed ( where to stand in the circle). Also a spot light evokes a 100 different things, emotions or feels in them. So think very carefully when to use the spot light. It is also use to emotionally manipulate the audience.
  • If you are blind , you are not lid.
  • You should be blind on the stage all the time.
  1. Flood light (beautiful spot light)- It is like a God light for a warm glow. It is behind at the back in the center.
  2. Green front light– They are two moving lights in the opposite sides used to feature something incoming on the stage.

One has to be careful with the skin colour of the actor. For the neutral effect, use black. Different colours change the colour of the shadow because of the reflection.

  1. Go Bo’s– Lights with interactive movements. There are different sizes for these differently moving lights.

Audio recorder

The audio recorder has 4 microphones on it.

  1. Speaker on/off- To listen the recorded things.
  2. Input ( xlr, uni, omni, line)

Uni- 2 Microphones on top

Omni – If its lying on the table to record(as hidden when someone is nervous about a microphone.

  1. Mike gain (button on back)- If the is a problem in recording, just increase it. Use medium level. Maximum level should be around zero.

If the record button is pressed, it will blink and make a noise and the numbers will change,

Garage band can be used for editing the recorded stuff.