Thursday, 30 April 2015
Wednesday, 29 April 2015
Tuesday, 28 April 2015
Personal/Class Performance Evaluation - Nation
Discuss how you showed effective use and control of performance skills throughout the piece
- Performance skills included voice techniques such as projection in which we had to consider during the real performance as the space was on a larger scale that we had been rehearsing in
- Ensemble work needed to be rehearsed so people were in time with one another. A large amount of rehearsal time was spent on the physicality of the piece. Ensemble work included: Timing, voice, chanting and movement
- Learning lines quick and effectively to allow the rehearsals to flow quicker
- Noting all personal movements to avoid confusion and remember in future rehearsals
- Learning how to balance the space particularly well when there are large amounts of people sharing it with you
- Breaking down the script and noticing key themes and understanding of the entire play
- Knowing objectives within each scene this contributes to how we act on stage by vocal pattern and gestures
- Interrogating text allows actors to make personal decisions fulfilling the directors decision (This also gives the director options to choose from) and allows rehearsals to flow efficiently
- Actors had their own creative control
- Connecting physicality and vocalisation allow resonance during the rehearsals and performance
- Instinctive personal acting decisions in a limited time
- Applying research knowledge to the performance process e.g Historical context, exploring, sociological view, psychological view, scientist view etc.. Work became easier knowing the background to the piece
- Learning lines and giving 100% in rehearsals. Contributing factors to being open to direction from peers and directors to improve character choices
- Imagination allowed me to explore physically and vocally in such an ambitious environment for performing
- Taking chances during rehearsals to allow things to go wrong and being open to constructive criticism. It was good to allow failure for improvement
- Imagination to envisage the space - Not going there prior to performance day
How you communicated your role and the intentions of the piece to the audience
- Learning lines and analysing the meaning in correlation to the scene
- Character research E.g Being a pregnant woman, solicitor like figure
- Ensemble work was of a high level by researching similar practitioners
- Rehearsing to form stronger physicality in ensemble work
- Peer and self assessments to improve all aspects of performance
- Props show clearly the intentions of the scene for example the baby bump and baby body wrapped in a blanket
- Additional necessary research such as tribes
- Other symbolic props, gestures etc. to signify characters for example Raiders had bandanas
- Detail of characters to justify the scope and imaginative approach to bringing characters to life
- Non realistic/ambitious acting to suit the themes of the play
- Plotting entrances and exits on the day of seeing the space
- Vocal masculinity preparation for example practising projection and voices fricatives to improve clarity
- Interesting self made developments such as giving birth with cow like gestures
- Theatrical pictures to convey something how we wanted to the audience without using a matter of words
- Strong simultaneous scenes
- Balancing the space to allow every audience member to see, we did this by allowing levels and spacing to be used
- Theatrical conceit - Finding things throughout the journey to allow an imagination perspective from the audience. This gave a style to our play. E.g using plastic bags to create Milton, skateboards etc.
- Costume fitting in with multi role characters. Being modern and colourful for most characters. Colours conveyed meanings for example White representing Daphne and Black representing Locaha.
How you made a significant contribution to the success of the piece
- Attending all rehearsals focussed and with a positive, confident, contributing manor
- Knowing lines and stage directions to allow the rehearsal process to move swiftly
- First few weeks contributing original ideas of props, stage direction and movements etc.
- Peer assessing other actors to allow improvement
- Final touches such as costume and lighting suggestions
- Rehearsing lines and key themes of the play in my own time to show an effective contribution in rehearsal and the final performance
- Displaying leadership skills particularly in physical scenarios where health and safety was taken into consideration
- Analysing background details to come through in the performance such as relationships
- Initial research on eras and cultures to allow us to manifest the world of the play
- Received pronunciation
- Practicing transitions to pick up the pace and dynamic of the piece
- Not allowing distractions
- Establishing objectives and play them alongside other characters this is deep psychological work
- Collective consciousness with ensemble work
What have you learnt about acting?
- Pushing myself during physical process
- Trying new acting techniques such as not screaming to show a birth but groaning and shouting from a gut perspective
- Being confident in rehearsals allows people to bound off of the same energy and see potential for improvement to better myself
- Adapting to the space we were given and keeping the contents of the play the same
- Dealing with pressure and improvising in needed times
- Being motivated during rehearsals even when you not on stage. Be energised ready to perform and use time wisely for example learning lines
- Being truthful to your character and not your real life persona
What have you learnt about yourself?
- Confidence in performing such ambitious scenes amongst strangers and wide audiences
- Being able to act on a large site and memorising entrances and exits
- Being ambitious with ideas and making them work within the performance
- Listening to other ideas and feedback to allow improvement in my personal acting and the general piece
- Balancing the spotlight and knowing when to be in the spotlight
- Every contribution is noticed
What have you done well?
- Knowing the correct innocent voice and vocal gestures to use to convey the intentions of my character
- Being alert and confident in ensemble work, my contributions had made the piece vocally and physically stronger
- Allowing bonds with other actors to allow character relationships more apparent for example the relationship between Cahle, Milo and Pilu
- Researching key themes to bring a sense of reality to the piece
- Having a watchable stage presence
- Learned and analysed the lines correctly
- Character research allowed me to convey the intentional characteristics of Cahle
What do you want to improve upon?
- Having a stronger familiarisation on queues, entrances and exits to allow a clearer flow to the performance
- Knowing the roles of other actors within the play to convey stronger relationships with them to the audience. For example how would Cahle act with Locaha
- Detailed notes explaining more on the atmosphere of each scene and showing climactic points to cooperate and forebode with the other scenes
- Every word show be said on stage as if it is a conversation however the entire audience can hear it clearly
- Don't strain the voice
- Constant and sustained physicality
General evaluation of the performance night
The performance night was nerve racking as previous rehearsals relied on improvement to allow the play to reach the standard we had all hoped for. Once the audience arrived the energy was boosted dramatically and the lines rolled off each actors tongue as we had hoped. The performance flowed effectively ensuring the audience understood what was happening from one scene to the next. Due to sustained rehearsals ensemble work both physically and vocally was strong. Rehearsals allowed people to understand their queues and the atmosphere each scene entitles. The support of peers allowed sustained, sophisticated and ambitious energy throughout the duration of the performance. Notes from the director and peers had allowed the play to form at such a sophisticated level we had all hoped for. Overall, Nation was a spectacular performance given to the audience by a hard working, committed group of individuals.
Saturday, 25 April 2015
First reaction to Nation
We sat down as a class and read through Terry Pratchett's Nation. My initial reaction was honestly very confused. Some scenes in the play I found were unnecessary and added to the confusion. After summarising the play and reading up about the plot and story line of it I was finally able to understand it clearer.
The hardest part for me was understanding characters and their relationships with others. For example Locaha has no relationship with anyone of the island however the goals of this character is to make death happen.
Once the play had taken its shape and characters were given to each actor amongst the class, it was much easier to understand. Character research truly helps as it informs the actors their mantra's and how to play them successfully.
For my character Cahle I found that doing tribal research of the Victorian era was necessary as this was when the play was set. It was interesting to find out rituals and how things have changed to the present day. For example, when my character gives birth in the play its not in a hospital with trained nurses but on an island in the 'womans place' where I receive support from an islander. To convey the same intentions of giving birth I had to involve the same screaming and level of pain any woman would go through despite era. However to make this interesting I wasn't giving birth in semi supine but instead squatting.
Another confusing part to analysing the play was how the different characters spoke and learned to understand eachothers language. A vital part to this are the gestures used to the audience understand that these characters don't speak the same language however they are learning to. Gestures such as sipping tea and crying faces made this make sense. Furthermore the structure of language informed the audience who were the original members of the island.
The hardest part for me was understanding characters and their relationships with others. For example Locaha has no relationship with anyone of the island however the goals of this character is to make death happen.
Once the play had taken its shape and characters were given to each actor amongst the class, it was much easier to understand. Character research truly helps as it informs the actors their mantra's and how to play them successfully.
For my character Cahle I found that doing tribal research of the Victorian era was necessary as this was when the play was set. It was interesting to find out rituals and how things have changed to the present day. For example, when my character gives birth in the play its not in a hospital with trained nurses but on an island in the 'womans place' where I receive support from an islander. To convey the same intentions of giving birth I had to involve the same screaming and level of pain any woman would go through despite era. However to make this interesting I wasn't giving birth in semi supine but instead squatting.
Another confusing part to analysing the play was how the different characters spoke and learned to understand eachothers language. A vital part to this are the gestures used to the audience understand that these characters don't speak the same language however they are learning to. Gestures such as sipping tea and crying faces made this make sense. Furthermore the structure of language informed the audience who were the original members of the island.
Wednesday, 22 April 2015
Nation Evaluation
For year 11's final major project we were told we were performing Terry Pratchett's - Nation. Nation is a play exploring two worlds coming together and forming a unison. The characters learn to adapt themselves to understand each other by language and societies norms and values. However we decided to put a subversive twist to this play! To depict our skills we have built up over the past couple of years we decided to make this a site specific ensemble based production. Building from experience in our 1984 performance this ensured we already had the basis to perform Nation on a similar level. If not of course better!
We were told our performance was going to be held in Stanley Halls, a large space allowing the audience to have their eyes on everything at all times. When rehearsals began in January we read the script and made as much sense of it as possible. To further my understanding of the play I began researching tribe rituals and celebrations. We began forming ideas scene by scene to produce a basis on what we wanted to work from. To allow our ideas to work successfully it was vital this was all noted down.
On the lead up to running through the play we also shared ideas about props, costumes, puppeteers, lighting and actions used by the ensemble. This was useful as we were able to take into consideration and put into action other peoples thoughts.
To gain focus, insight and imagination into the process of forming the play we each carried out our own activities such as character research. Upon my research I was able to find out tribes, rituals and language of the Victorian era. Costume was a large part of my findings as many colours and symbols were used to represent ideas. For example much like today we see black as an evil deathly colour this could be used as a representation of Locaha. Futhermore bright colours and patterns are a representation of groups of people living the same norms and values, this could have been a way to represent people of the Nation.
To focus on the play successfully it was vital our own research happened outside of the rehearsal space. I found this was useful as we could all bring ideas to the table to form a great subversive piece. When reading the play it was good to pick out key themes such as Liberty, justice and science. These three words were written in the performance space which amazingly cooperated with our production.
The play allowed us to explore our youthful imaginations and put this into practice. When deciding how we wanted our production to look our imagination had to explore lighting, props, characteristics, costume and much more. Imagination was vital as without it we wouldn't of been able to convey two diverse worlds coming together and forming a Nation.
To focus on our performance we had to do activities that would further our learning both creatively and intellectually. Activities included vocal exercises to have the same vocal colour as tribes people. Call and responses to chants were interesting as it gave warmth and gesture to parts of the play. In our performance we furthered this activity by chanting 'Bound for south Australia'.
Rehearsals kicked into place and characters were chosen where I was given the character Cahle. Cahle is a young women of the nation who gives birth and relies on the help and support of Daphne throughout the duration of the play. Furthermore the play explores Cahles growing relationship with both her son Twinkle and Daphne. To adapt my character to its best potential it was vital to do strong character research for key moments I am in. This included tribal births, mother and son relationships and solicitors speech. I was able to make relationships with my character and other characters by doing activities such as speaking in languages nobody understood however forming gestures to make sense of our speech. Similarly in the performance gestures were used to convey language and understanding one another.
However due to the intensity of this play our characters weren't the only people to focus on. A large part of the performance involves an strong ensemble. Having little experience on such a dependant ensemble piece it was vital that correct research and rehearsals came into place. I research ensemble acting groups and how their work is performed at such a sophisticated level. Furthermore during rehearsals we had to show confident, competent and sustained focus throughout in order to know what we were doing.
The difficulty of choosing such a long play to do was remembering every thing we had previously learned in rehearsals weeks in advance. So to avoid this from happening I made stage direction sheets where every scene clearly showed the layout of Stanley halls and my specific roles and character choices at that moment. This was clear and easy to follow during moments where I was off stage and needed prompts. This was particularly useful for such a site specific play. To understand each section of the play in detail we broke each rehearsal session up into scheduled parts where we could focus on key moments and piece each part together to form the final piece.
The lead up to the final performance needed sustained hard work which I was able to bring consistently throughout. Right until the very last rehearsals final adjustments were put in place. Despite having learned our characters and the relationship with others it was still vital we lead our own individual practise and preparation. For me, this was noting stage directions and props. Furthermore rehearsing lines with those in my scenes to build confidence and relationships to understanding.
So the day of the final performance arrived, where we met the space and understood exits and entrances. We had a full run through prior to our audience arriving where nobody thought we would be able to pull off this piece. Our full run through took us seven hours to complete, at this point we were all extremely worried. People had missed their queues, forgot their lines, didn't remember how to balance the space and project their voices. However after sustaining full focus we were able to support one another in putting the final pieces together. This included props such as waves, knowing entrances and exits and listening our for queues backstage.
Due to a disappointing run through, during the break the class had come together to practise lines, note where props should be and support one another in clearing up any mistakes in the run through. This allowed our final run through to breeze through.
It was our final technical and dress rehearsal which had finally gone as planned. Prior to our audience coming it was vital to understand where to stand in cooperation with lighting and audience to avoid blocking. The dress rehearsal was important to me as I could practise taking out my baby and giving birth to it unknown to the audience that it wasn't real. We were given a prep talk on final things to happen during the show that we hadn't done so well in the run through. A major part of improvement was energy and sustained focus. It was vital to stay focussed and silent back stage to allow what was happening on stage to be clear and be known to others when to enter for their scenes.
After a full on day of rehearsals our audience arrived sitting on either side of the central hall. Not knowing that there eyes were going to be all across the space. Lights dimmed and curtains were opened. Our performance started with a group of teenagers breaking into the space exploring the atmospherics the space naturally bought to us. Powdered paint was thrown amongst the space to highlight our youth and set the tone of the performance. The colour black was a representation of Locaha. Moreover bright colours represented people of the nation.
As the scenes swiftly went on and the lighting adapted based on the scenarios of the scene everybody acted to their best potentials. The world of the nation had truly come alive. Lines were delivered perfectly, clear and concise throughout. The ensemble work for me was what had made the play live up to a high standard and keep the attention of the audience. From swirling to the floor as dead bodies to chanting merrily whilst cleaning the ship wreck, the ensemble supported each other and bought to life unimaginable things. We controlled performance skills to allow our audience to see a realistic side to our performance.
Cahles opening scene had began where I gave birth to my baby Twinkle. Despite the challenge on maintaining a cow like scream in a squatting position giving birth the scene was made beautiful and grasped the audiences attention. Particularly to maternal figures of the audience.
This sophisticated production relied on full concentration and commitment which I believe every body gave during the performance. It was vital we knew entrances, exits, queues, costume changes and props to keep the play alive. Throughout the ensemble work and diverse scenes focus was to be maintained throughout. I ensured that bold character choices were made and my lines were delivered clearly to ease the struggle of understanding some scenes (as some were).
Following the interval the same level of focus and acting pulled through again. A beautiful ending was established and the audiences hearts were warmed from within. I believe the performance on a whole worked entirely well and credit should be taken by those who researched, refined and performed consistently throughout much like myself. Although this adaptation wasn't a clear nor an easy one to follow, the members of Nation had made this a deeply mesmerising performance.
Our heart warming exit approached as the audience yelled with enthusiasm, never the less forgetting the standing ovation we received. Such a beautiful end to a highly sophisticated, hard working, full on journey. Well done to every last one of the actors of Nation. As a unison our audience were shocked at just how well a bunch of teenagers breaking into a hall in South Norwood could really do!
I learned that I can take risks with my acting and be confident on being loud and enthusiastic. I learned that it is vital to work well with one another to produce an unforgettable piece that relied so much on the relationship with others. Furthermore pushing our limitations with physical theatre, being more flexible and vocal with everything we did contributes to an atmospheric piece.
My confident, competent, focussed insight to the project allowed my character and ensemble work to be of a sophisticated sustained level. Rehearsals had ensured the work was put in where it was needed and our own lead learning was contributed and shared with others. For the future I have learned to sustain faith in the performance and have the knowing that it will go to plan in the end. Having the audiences eyes on stage at all times made the energy better and more alive which we should learn to bring to all rehearsals.
Nation has been an unforgettable, learning success. Despite having to take a strepsil after screaming giving birth to my child. I would long to do it all over again.
Nation.
We were told our performance was going to be held in Stanley Halls, a large space allowing the audience to have their eyes on everything at all times. When rehearsals began in January we read the script and made as much sense of it as possible. To further my understanding of the play I began researching tribe rituals and celebrations. We began forming ideas scene by scene to produce a basis on what we wanted to work from. To allow our ideas to work successfully it was vital this was all noted down.
On the lead up to running through the play we also shared ideas about props, costumes, puppeteers, lighting and actions used by the ensemble. This was useful as we were able to take into consideration and put into action other peoples thoughts.
To gain focus, insight and imagination into the process of forming the play we each carried out our own activities such as character research. Upon my research I was able to find out tribes, rituals and language of the Victorian era. Costume was a large part of my findings as many colours and symbols were used to represent ideas. For example much like today we see black as an evil deathly colour this could be used as a representation of Locaha. Futhermore bright colours and patterns are a representation of groups of people living the same norms and values, this could have been a way to represent people of the Nation.
To focus on the play successfully it was vital our own research happened outside of the rehearsal space. I found this was useful as we could all bring ideas to the table to form a great subversive piece. When reading the play it was good to pick out key themes such as Liberty, justice and science. These three words were written in the performance space which amazingly cooperated with our production.
The play allowed us to explore our youthful imaginations and put this into practice. When deciding how we wanted our production to look our imagination had to explore lighting, props, characteristics, costume and much more. Imagination was vital as without it we wouldn't of been able to convey two diverse worlds coming together and forming a Nation.
To focus on our performance we had to do activities that would further our learning both creatively and intellectually. Activities included vocal exercises to have the same vocal colour as tribes people. Call and responses to chants were interesting as it gave warmth and gesture to parts of the play. In our performance we furthered this activity by chanting 'Bound for south Australia'.
Rehearsals kicked into place and characters were chosen where I was given the character Cahle. Cahle is a young women of the nation who gives birth and relies on the help and support of Daphne throughout the duration of the play. Furthermore the play explores Cahles growing relationship with both her son Twinkle and Daphne. To adapt my character to its best potential it was vital to do strong character research for key moments I am in. This included tribal births, mother and son relationships and solicitors speech. I was able to make relationships with my character and other characters by doing activities such as speaking in languages nobody understood however forming gestures to make sense of our speech. Similarly in the performance gestures were used to convey language and understanding one another.
However due to the intensity of this play our characters weren't the only people to focus on. A large part of the performance involves an strong ensemble. Having little experience on such a dependant ensemble piece it was vital that correct research and rehearsals came into place. I research ensemble acting groups and how their work is performed at such a sophisticated level. Furthermore during rehearsals we had to show confident, competent and sustained focus throughout in order to know what we were doing.
The difficulty of choosing such a long play to do was remembering every thing we had previously learned in rehearsals weeks in advance. So to avoid this from happening I made stage direction sheets where every scene clearly showed the layout of Stanley halls and my specific roles and character choices at that moment. This was clear and easy to follow during moments where I was off stage and needed prompts. This was particularly useful for such a site specific play. To understand each section of the play in detail we broke each rehearsal session up into scheduled parts where we could focus on key moments and piece each part together to form the final piece.
The lead up to the final performance needed sustained hard work which I was able to bring consistently throughout. Right until the very last rehearsals final adjustments were put in place. Despite having learned our characters and the relationship with others it was still vital we lead our own individual practise and preparation. For me, this was noting stage directions and props. Furthermore rehearsing lines with those in my scenes to build confidence and relationships to understanding.
So the day of the final performance arrived, where we met the space and understood exits and entrances. We had a full run through prior to our audience arriving where nobody thought we would be able to pull off this piece. Our full run through took us seven hours to complete, at this point we were all extremely worried. People had missed their queues, forgot their lines, didn't remember how to balance the space and project their voices. However after sustaining full focus we were able to support one another in putting the final pieces together. This included props such as waves, knowing entrances and exits and listening our for queues backstage.
Due to a disappointing run through, during the break the class had come together to practise lines, note where props should be and support one another in clearing up any mistakes in the run through. This allowed our final run through to breeze through.
It was our final technical and dress rehearsal which had finally gone as planned. Prior to our audience coming it was vital to understand where to stand in cooperation with lighting and audience to avoid blocking. The dress rehearsal was important to me as I could practise taking out my baby and giving birth to it unknown to the audience that it wasn't real. We were given a prep talk on final things to happen during the show that we hadn't done so well in the run through. A major part of improvement was energy and sustained focus. It was vital to stay focussed and silent back stage to allow what was happening on stage to be clear and be known to others when to enter for their scenes.
After a full on day of rehearsals our audience arrived sitting on either side of the central hall. Not knowing that there eyes were going to be all across the space. Lights dimmed and curtains were opened. Our performance started with a group of teenagers breaking into the space exploring the atmospherics the space naturally bought to us. Powdered paint was thrown amongst the space to highlight our youth and set the tone of the performance. The colour black was a representation of Locaha. Moreover bright colours represented people of the nation.
As the scenes swiftly went on and the lighting adapted based on the scenarios of the scene everybody acted to their best potentials. The world of the nation had truly come alive. Lines were delivered perfectly, clear and concise throughout. The ensemble work for me was what had made the play live up to a high standard and keep the attention of the audience. From swirling to the floor as dead bodies to chanting merrily whilst cleaning the ship wreck, the ensemble supported each other and bought to life unimaginable things. We controlled performance skills to allow our audience to see a realistic side to our performance.
Cahles opening scene had began where I gave birth to my baby Twinkle. Despite the challenge on maintaining a cow like scream in a squatting position giving birth the scene was made beautiful and grasped the audiences attention. Particularly to maternal figures of the audience.
This sophisticated production relied on full concentration and commitment which I believe every body gave during the performance. It was vital we knew entrances, exits, queues, costume changes and props to keep the play alive. Throughout the ensemble work and diverse scenes focus was to be maintained throughout. I ensured that bold character choices were made and my lines were delivered clearly to ease the struggle of understanding some scenes (as some were).
Following the interval the same level of focus and acting pulled through again. A beautiful ending was established and the audiences hearts were warmed from within. I believe the performance on a whole worked entirely well and credit should be taken by those who researched, refined and performed consistently throughout much like myself. Although this adaptation wasn't a clear nor an easy one to follow, the members of Nation had made this a deeply mesmerising performance.
Our heart warming exit approached as the audience yelled with enthusiasm, never the less forgetting the standing ovation we received. Such a beautiful end to a highly sophisticated, hard working, full on journey. Well done to every last one of the actors of Nation. As a unison our audience were shocked at just how well a bunch of teenagers breaking into a hall in South Norwood could really do!
I learned that I can take risks with my acting and be confident on being loud and enthusiastic. I learned that it is vital to work well with one another to produce an unforgettable piece that relied so much on the relationship with others. Furthermore pushing our limitations with physical theatre, being more flexible and vocal with everything we did contributes to an atmospheric piece.
My confident, competent, focussed insight to the project allowed my character and ensemble work to be of a sophisticated sustained level. Rehearsals had ensured the work was put in where it was needed and our own lead learning was contributed and shared with others. For the future I have learned to sustain faith in the performance and have the knowing that it will go to plan in the end. Having the audiences eyes on stage at all times made the energy better and more alive which we should learn to bring to all rehearsals.
Nation has been an unforgettable, learning success. Despite having to take a strepsil after screaming giving birth to my child. I would long to do it all over again.
Nation.
Character research
During the process of finding my true character I identified key moments my character is in involved with. These include being pregnant, giving birth, being a mother figure, noticing members of the nation dying and being a solicitor/lawyer type figure. Within these key moments I must remain natural character choices that allow the audience to understand my sustained character.
I researched how native Americans give birth. I chose to use native Americans as they are close to tribal figures similar to the characters created in Nation. In my scene where I am giving birth I am loud and giving birth similar to an animalistic figure such as a cow. To fulfil this I practised deep outbursts of breath and screams (much like a cow). In contrast to the modern way of giving birth I used interesting character choices to squat giving birth rather than being on semi supine.
In other key moments of the play such as showing the audience a relationship with my growing baby I ensured there was a clear character bond between mother and son. To reach the full potential of this I took hard evidence from experienced relationships I witness with mothers. Much like the term 'mothers instinct' I was able to show this. For example when feeding my baby it is clear I am able to mother the baby correctly by holding him and hushing to relax him. Furthermore when Twinkle has grown up, I ensure I remain a maternal figure by holding my child's hand and guiding her through the atmospherics the ensemble bring to life.
Additionally, in the key moment of noticing Ataba's dead body I have to ensure that I am strong in character choices. As I am with Twinkle in this scene I have to be a supportive figure, by doing this I use a soft line "Don't worry twinkle" and comforting actions by hiding his face from the body. I found this character choice quite challenging to make as I also have to show emotion to the audience from my perspective. To do this I make sure I look shocked and horrified by what I see in front of me. Following this interpretive action I will then say my name and remember to comfort Twinkle beside me.
In the final key moment Cahle plays in Nation is the court scene. The character choices I made for this scene were dominating and defensive of Daphne. When doing the research for what character choices I should make I instantly thought of a solicitor/lawyer working as a defendant in court. To fulfil my character choices in this I watched and listened to the speech and gestures made by a lawyer. The speech was slow and sustained and a domineering manner came across. Gestures used were highly formal and sophisticated. Although I am still Cahle in this scene, I believe the character choices made above are still suitable for this role.
A large variety of character choices are to be made throughout Nation. However doing research on choices to be made in key moments has ensured that character choices are fulfilled to the best potential.
I researched how native Americans give birth. I chose to use native Americans as they are close to tribal figures similar to the characters created in Nation. In my scene where I am giving birth I am loud and giving birth similar to an animalistic figure such as a cow. To fulfil this I practised deep outbursts of breath and screams (much like a cow). In contrast to the modern way of giving birth I used interesting character choices to squat giving birth rather than being on semi supine.
In other key moments of the play such as showing the audience a relationship with my growing baby I ensured there was a clear character bond between mother and son. To reach the full potential of this I took hard evidence from experienced relationships I witness with mothers. Much like the term 'mothers instinct' I was able to show this. For example when feeding my baby it is clear I am able to mother the baby correctly by holding him and hushing to relax him. Furthermore when Twinkle has grown up, I ensure I remain a maternal figure by holding my child's hand and guiding her through the atmospherics the ensemble bring to life.
Additionally, in the key moment of noticing Ataba's dead body I have to ensure that I am strong in character choices. As I am with Twinkle in this scene I have to be a supportive figure, by doing this I use a soft line "Don't worry twinkle" and comforting actions by hiding his face from the body. I found this character choice quite challenging to make as I also have to show emotion to the audience from my perspective. To do this I make sure I look shocked and horrified by what I see in front of me. Following this interpretive action I will then say my name and remember to comfort Twinkle beside me.
In the final key moment Cahle plays in Nation is the court scene. The character choices I made for this scene were dominating and defensive of Daphne. When doing the research for what character choices I should make I instantly thought of a solicitor/lawyer working as a defendant in court. To fulfil my character choices in this I watched and listened to the speech and gestures made by a lawyer. The speech was slow and sustained and a domineering manner came across. Gestures used were highly formal and sophisticated. Although I am still Cahle in this scene, I believe the character choices made above are still suitable for this role.
A large variety of character choices are to be made throughout Nation. However doing research on choices to be made in key moments has ensured that character choices are fulfilled to the best potential.
Tuesday, 21 April 2015
Ensemble work
Ensemble - A group of actors performing together. Actors are viewed as a whole rather than individually
A huge part of Nation relies on a confident, bold ensemble of actors. Actors will create a diverse range of characters ranging from statues to dead bodies and servants to dream fish. Nation has a widely imaginative storyline including the wackiest of objects and characters within it, to make this performance reach its full potential it is in need of an imaginative, physical and enduring group of actors who are able to switch between roles and be alert at all times knowing their ques.
Specifically to the play Nation it is vital that roles are remained and have a sustained focus throughout. The mantra of an ensemble actor is that 'The audience can always see you'. Facial expressions, bold and expressive gestures and physicality's enhance these moments allowing the audience to truly believe our motives.
Relevant to our ensemble work on nation I researched more ensemble acting groups. I came across "The actors' ensemble" who were founding in 1985 in New York city by a group of professional actors. Inspired by the acting techniques taught by the late actor Michael Chekhov, the Ensemble began working together with the mission of developing the art of the actor and creating theatre ensemble. Since its founding, the Ensemble has created and performed theatre productions across the US, in Europe and in Russia, and developed a two-year college level acting program through Sunbridge College.
A huge part of Nation relies on a confident, bold ensemble of actors. Actors will create a diverse range of characters ranging from statues to dead bodies and servants to dream fish. Nation has a widely imaginative storyline including the wackiest of objects and characters within it, to make this performance reach its full potential it is in need of an imaginative, physical and enduring group of actors who are able to switch between roles and be alert at all times knowing their ques.
Specifically to the play Nation it is vital that roles are remained and have a sustained focus throughout. The mantra of an ensemble actor is that 'The audience can always see you'. Facial expressions, bold and expressive gestures and physicality's enhance these moments allowing the audience to truly believe our motives.
Relevant to our ensemble work on nation I researched more ensemble acting groups. I came across "The actors' ensemble" who were founding in 1985 in New York city by a group of professional actors. Inspired by the acting techniques taught by the late actor Michael Chekhov, the Ensemble began working together with the mission of developing the art of the actor and creating theatre ensemble. Since its founding, the Ensemble has created and performed theatre productions across the US, in Europe and in Russia, and developed a two-year college level acting program through Sunbridge College.
Following from this research I saw techniques they used in order to maintain a strong performance. This included a strong physicality and facial expressions. Not only does ensemble include physicality but it also includes vocal work too. Building on our vocal sessions I learned that although a large group makes a loud noise the tone of the voice still matters. For example in the 'Bound for South Australia' ensemble song, tone and infliction contributes to the projection we bring to the piece.
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