contemporary monologue:
Dogface by Kellie Powell.
Dogface is a play about a girl who got attacked by a dog when she was seven years old. which cause other children at school to provide her derogatory nickname ' Dogface'- an identity she never fully escapes from. She alternate between describing the experience and re-living it.
I have chosen this monologue because I can relate to it in a very personal and emotional way, I say this because I've been through this as well, when I was 9 years old I was bitten by my friends Dog as well; and just knowing that there's someone else out there, like you who experienced something so life changing at a young age, and has found the courage to put out the scars and pain she felt and was holding for so many years is amazing and inspiring to me.
I know the pain and the emotion and insecurity she felt so I can relate to it, being young and just a child and if something so life changing happens to you it can be hard if children your age don't see the hurt and insecurity you are feeling. It's even harder when they find the need to put you down and make you feel worse about yourself which is horrifying. I mean she experienced the bullying and the words calling and so did I. As child at such a young age who just experienced something like that you expect people to be more generous towards you and make you feel more secure but they bring you down even more than you already are and it hurts the most, because it's the people your around everyday who feel it's okay to call you names.
I can relate to this piece more because of the insecurities I've been hiding away. however, I know that my friends, classmates, and teacher are supportive. This gives me comfort and made me feel comfortable talking about what I've experienced and how I felt at the time of the incident.
Classical Monologue:
This monologue is about Adriana who's spent much of the play worrying that her husband loves another woman. Adriana is most notable for her observations about a woman's role in marriage, her grief over her lost love, and her stubborn loyalty in the face of what she believed to be adultery.
I've chosen this monologue because it was very different from me, I found it very interesting and very challenging. I wanted something very different from me something I've never experienced, something that will push me and make me work harder, and be more creative, more free and open minded and come way out of my comfort zone.
This Character is very different to me. And like that, because I've never been in a relationship before therefore I've never been put in a situation where I feel the need to question my relationship or my other significant.
I can't fully relate to this monologue, however I like the fact that I was able to try and put myself in a position or situation where I could challenge myself was good for my growth as an actress. For example being able to try and imaging what I would do if I was in a situation where i feel like my significant other is having an affair or not in love with me the way he used too or the nice things he use to tell me before. however being able to open up and try to connect to those feeling that I've yet to experience was very challenging.
Friday 9 February 2018
Thursday 18 January 2018
Arcola Theatre.
Arcola Theatre is an Off West End theatre in the London Borough of Hackney.
The Theatre was an old paint factory, that was converted into a Theatre, it was found by artistic director Mehmet Ergen, in September 2000.
The theatre celebrated this with its fifth anniversary production, The Factory Girls by Frank McGuinness. In January 2011 the Arcola moved to a former paint-manufacturing workshop on Ashwin Street in Dalston, after its previous landlord earmarked the Arcola Street site for redevelopment as apartments. It marked the move by premiering The Painter, a play about J. M. W. Turner by Rebecca Lenkiewicz.
1) The Board: They don't have any practical role, they just have over site of what's going on financially, they don't have a day to day jobs at the Arcola, however they just make sure the theatre don't go bankrupt.
For example if the Senior Executive decide they wanna do a show like the hamilton that cast over a million they cant turn it down to prevent the theatre from going bankrupt.
2) Artistic Director Mehmet Ergen: An artistic director is the executive of an arts organization, particularly in a theatre company, who handles the organization's artistic direction. They are generally a producer and director, but not in the sense of a mogul, since the organization is generally a non-profit organization.
The Theatre was an old paint factory, that was converted into a Theatre, it was found by artistic director Mehmet Ergen, in September 2000.
Its original location was a former textile factory on Arcola Street in Dalston.
The theatre celebrated this with its fifth anniversary production, The Factory Girls by Frank McGuinness. In January 2011 the Arcola moved to a former paint-manufacturing workshop on Ashwin Street in Dalston, after its previous landlord earmarked the Arcola Street site for redevelopment as apartments. It marked the move by premiering The Painter, a play about J. M. W. Turner by Rebecca Lenkiewicz.
In 2015 Arcola was nominated for 9 Off West End awards – more than any other London theatre.
they run six companies which consist of youth and woman company. A claire collective which is for the LGBT QI plus company; it also offer a company for men and women who have mental health.
they run six companies which consist of youth and woman company. A claire collective which is for the LGBT QI plus company; it also offer a company for men and women who have mental health.
What they offer:
they have a bar which turns into a club at night, in other to give back to the hackney community.
they have a bar which turns into a club at night, in other to give back to the hackney community.
World-class
In there two theatre spaces, Arcola presents major artists alongside cutting-edge work from some of the most exciting emerging companies.
Arcola has been a launch pad for artists including Rebecca Lenkiewicz and Alecky Blythe, who had their first plays produced at the Arcola, Lyndsey Turner, Lucy Kirkwood and Joe Sims.
World-renowned playwrights including Bonnie Greer, Frank McGuinness and Sam Shepard have premiered work at Arcola.
Actors including Linda Bassett, Clare Higgins, Greg Hicks, Geraldine James, Gemma Jones, Kathyrn Hunter, David Bamber and Toby Jones have all appeared on our stages.
Diverse
The Arcola programme is locally engaged and internationally minded. They believe that diversity is made with better art, and for a more flourishing arts scene.
Every year through ArcolaLAB, They provide 26 weeks of free rehearsal space to emerging theatre-makers and artists of colour.
Two-thirds of the productions in their last season were led by women as writers, directors and producers, and one-third of our productions were led by diverse artists.
Accessible
The Arcola Theatre delivers one of London’s most extensive community engagement programmes, creating over 11,000 opportunities every year across youth, community, schools and talent development programmes.
They are committed to affordable ticket pricing – no ticket is more than £22, and you can pay what you can on Tuesday evenings. Arcola Passport makes a trip to the theatre £12 or less.
Sustainable
Sustainable
Arcola aims to be the world’s first carbon-neutral theatre. Our pioneering environmental initiatives, developed in partnership with Arcola Energy, are internationally renowned.
We’ve fitted solar panels, DC power grids and now carbon-neutral heating to make our building more sustainable.
Trailblazing sustainability projects as part of our core business, Arcola Theatre aims to be the world’s first carbon neutral theatre. Initiated in 2007 as the Arcola Energy Project, Arcola’s vision for a sustainable, equitable and creative future is at the heart of all we do.
In 2010 they set up the Arcola Energy Ltd to take forwards technology development and commercial elements. Arcola Energy specialises in the integration of hydrogen and fuel cells, with a reputation for capturing end-user needs, strong industry partnerships and low-cost UK manufacturing. The Arcola Theatre works closely with Arcola Energy, particularly on renewable energy projects, Since 2012, all organisations that receive regular funding from Arts Council England have to report on their environmental performance. they've reduced their carbon footprint by more than 25%.
1) The Board: They don't have any practical role, they just have over site of what's going on financially, they don't have a day to day jobs at the Arcola, however they just make sure the theatre don't go bankrupt.
For example if the Senior Executive decide they wanna do a show like the hamilton that cast over a million they cant turn it down to prevent the theatre from going bankrupt.
2) Artistic Director Mehmet Ergen: An artistic director is the executive of an arts organization, particularly in a theatre company, who handles the organization's artistic direction. They are generally a producer and director, but not in the sense of a mogul, since the organization is generally a non-profit organization.
Tuesday 20 June 2017
Inez, Unit 50: Movement in performance-Evaluation.
Inez, Unit 50: Movement in performance-Evaluation.
Stimulus of the piece:
Miss Inez, choreograph a dance base off the 1996 British black comedy crime drama, called "Trainspotting". which is about a group heroin addicts economically depressed area of Edinburgh and their passage though life. The dance just shows what drug addicts go through when they are experiencing withdrawal syndrome. we used a lot of dynamic and space to portray this piece.
My character: My role for this dance piece: i had to portray one of the drug addict, who is suffering from withdrawal syndrome, and i did this by showing it through my emotion, pain and characterisation. I also used a lot of my face, body language and movement to make it look real and effective as possible .Physical Skills:One of the mean skills we had to have and used for this dance piece is "Dynamics", this because the pace of the piece was quite a bit fast we had a bit of different counts, in different places. sometime we would have to count in 5,6 or in 8. Therefor we needed to show the quality of the piece, with a lot of energy, sharpness and contrast in order to produce and show the rhythm and emotion. How i used my performance and interpretive skills in the piece:
I tried to use my body movements, sharpness and facial expression as mush as possible in the piece, in order to interpret the situation and meaning of being a drug addict, clearly as i can to the audience. just by being able to put myself in their shoes and watching different type of videos from trainspotting it self really help me developed the character i had to portray.
My strengths:
. Understanding the piece and choreography.
. Getting the choreography and pace.
. Working well as an ensemble to interpret the piece in the proper way.
. Being on time with the counts and dynamics.
. Learning and working with others.
My weaknesses:
. Using facial expression.
. Developing the character.
Target and what i need to work on:
i need to get the counts more quite, try to not confuse other and myself, being more confident in what i do and just believe even if i get it wrong once or twice its okay to make mistakes just learn and move on from it.
video links that help me develop my character:
Saturday 3 June 2017
theatre of the absurd theory lesson./ research/ 6 reahersal log!
Bald Prima Donna,The
The Bald Prima Donna is a short play, drama
Writing by Eugene Ionesco and was Translated from French to English by Donald Watson.
This play is a hilariously maniacal assault on the banality of English suburbia. A family is discussed, every member of which is called Bobby Watson; a young couple is alarmed to find that they have been married for years. For such people, words can have no meaning. The play ends in a crescendo of Non-sequitur. the setting of the play is A typical middle-class English interior.
Author:
Samuel French Titles by Eugene Ionesco
(born Nov. 26, 1909, Slatina, Rom.died March 28, 1994, Paris, France) was a Romanian-born French playwright. He studied in Bucharest and Paris, where he lived from 1945. His first one-act antiplay, The Bald Soprano (1950), inspired a revolution in dramatic techniques and helped inaugurate the Theatre of the Absurd. He followed it with other one-act plays in which illogical events create an atmosphere both comic and grotesque, including The Lesson (1951), The Chairs (1952), and The New Tenant (1955). His most popular full-length play, Rhinoceros (1959), concerns a provincial French town in which all the citizens are metamorphosing into rhinoceroses. Other plays include Exit the King (1962) and A Stroll in the Air (1963). He was elected to the Acadmie Franaise in 1970. source:wikipedia.
videos:
I chose this video because it went into clear details and help me understand everything about the absurdists, what's it's about why it dint make sense how they came up with the idea. it even say how everything started.
Martin Julius Esslin, born Pereszlenyi Gyula Martonwas in Budaspest. He was born on the 6 of June 1918, and died the 24 of February 2002, at the age of (83). He moved to Vienna with his Family at a young age. He studied Philosophy and English at the University of Vienna and later studied directing under Max Reinhardt at the Reinhardt Seminar of Dramatic Arts in 1928; actor Milo Sperber was a classmate. of Jewish descent (but not of Jewish practice), he fled Austria in the wake of the Anschluss of 1938, moving to Brussels for a year and then moved on to England. He was a Hungarian-born English produce, dramatist, journalist, adaptor and translator, critic, academic scholar and professor of drama. he was best known for coining the term
"Theatre of the Absurd" in his work of the name. in the 1960's (Theatre of the Absurd) was called "the most influential theatrical text of the 1960's" by reviewers.
his book, Theatre of the Absurd, was written in 1962, he defined the "Theatre of the Absurd" as follows:
This attribute of "absurdity" was not accepted by many of the playwrights associated with this trend. Playwright Eugene lonesco stated that he did not like labels. Ahmad kamyabi Mask criticised Esslin for a purported "colonialist" quality of this title for the Avant-garde theater. However, his work inspired other playwrights such as Samuel Beckett, Arrthur Adamov, Jean Genet, and Harold Pinter (as well a Ionesco). He began working for the BBC in 1940, serving as a producer, script writer and broadcast. He headed BBC Radio Drama from 1963-77, having previously worked for the external European service. He was later given the position of head of Radio Drama, in which he tried to bring to life his dream of "national theatre of the air". He and his BBC team also translated many foreign works into English during this time. after leaving the BBC he help senior academic post at Florida State University from 1969 to 1976 and Stanford University from 1977 to 1988. source: Wikipedia
I chose this video because it went into clear details and help me understand everything about the absurdists, what's it's about why it dint make sense how they came up with the idea. it even say how everything started.
"Theatre of the Absurd" in his work of the name. in the 1960's (Theatre of the Absurd) was called "the most influential theatrical text of the 1960's" by reviewers.
his book, Theatre of the Absurd, was written in 1962, he defined the "Theatre of the Absurd" as follows:
| “ | The Theatre of the Absurd strives to express its sense of the senselessness of the human condition and the inadequacy of the rational approach by the open abandonment of rational devices and discursive thought. | ” |
This attribute of "absurdity" was not accepted by many of the playwrights associated with this trend. Playwright Eugene lonesco stated that he did not like labels. Ahmad kamyabi Mask criticised Esslin for a purported "colonialist" quality of this title for the Avant-garde theater. However, his work inspired other playwrights such as Samuel Beckett, Arrthur Adamov, Jean Genet, and Harold Pinter (as well a Ionesco). He began working for the BBC in 1940, serving as a producer, script writer and broadcast. He headed BBC Radio Drama from 1963-77, having previously worked for the external European service. He was later given the position of head of Radio Drama, in which he tried to bring to life his dream of "national theatre of the air". He and his BBC team also translated many foreign works into English during this time. after leaving the BBC he help senior academic post at Florida State University from 1969 to 1976 and Stanford University from 1977 to 1988. source: Wikipedia
Albert Camus, is generally regarded as the father of modern Absurd-ism, expanding on, or rejecting the notion of absurdity confronted and his existentialist philosophy. Camus wrote extensively about the subject during his life in the aftermath of the second world war. Theatre of the Absurd is the new genre that we are focusing on in lesson and aim to perform the scripted piece.Theatre of the Absurd is to make our acting and dialogue nonsensical as everything has to be absurd. nothing you do make sense.
These are some of the words that describe the word' Absurd':
. Crazy
. Ridiculous
. Non-sense
.No meaning
. Nonsensical
. Random and Silly
Furthermore, Absurd-ism is a non-linear narrative, meaning that there is no structure to it.
About: Theatre Of The Absurd.
an important factor about Absurd-ism is that war people were confused and wanted to know what the meaning of life was. Absurd-ism has no purpose, and absurdist plays are just for humour and comedy, followed by being entertaining towards the audience.
dramatic structure is changed in order to prevent life being meaning meaningless, which means it is nonlinear and enhances the play to make it enjoyable.
Key Terms:
Farce is a subcategory(subordinate category) of comedy, characterised by greatly exaggerated characters and situation.
https://www.youtube.com/watch?v=0jhaH-bjBWg
"a rejection of narrative continuity and the rigidity of logic"-
dismissing the story line and the continuation of a story line and the inability of sense.
6) Rehearsals log!
1. In the first, lesson, Miss Katie made us do a workshop to prepare us to perform in an absurdist style. We did this by communicating through improvisation. We formed a pair of two people per group, and we had to communicate a conversation in a very illogical and nonsensical way, this was really hard to do because it didn't give you the time to think you just had to say the very first thing that comes mind. And because in this society were so used to thinking and trying to make everything make sense it was frustrating a bit, however this really help me prepare and understand Absurdity because it really destructed the logic we have of making everything making sense, it showed me that you don't always have to make sense of it at all, everything is just meant to be chaotic, ridiculousness and very nonsensical.
2. In the third and 4 lesson, Miss Katie give all the groups 30 min to work on their own. And my group and i took 4 chairs and gather together and started experimenting different tones and pitches, moreover we tried different physicality and variety gestures and proxemics. We also explored different staging and ways to stay as classy as possible due to the fact that we were suppose to me mocking British people and the way they do things and trying to maintain staying in character whilst doing that. ones the 30 min finished Miss Katie came back and we had to show each other what we came up with so far and we were allowed to give and receive feedback from each other and Miss Katie herself.
3. In the 5 lesson we started learning our lines and trying our best to get off script so we could focus on our acting and movements and focus less on the lines.however in lesson 6 Miss Katie did a different workshop but this one was for the voice and a different acting style called ratio acting, which is when the actor's are only using their voice to act and people listen to it on the radio, so we focus on that. For the first 30 min Miss Katie then made us lay on the floor in our groups and made us do our piece one by one in the dark so that we can focus on working on our articulation and clarity of our voice. and we did this by listing to the other group and see how well their clarity and how well their articulation and pronunciation is. after that she give us the next 25 min to give feedback on what we need to work on.
4. Three weeks before showing miss Katie our final ideas, we took time off working on our practical and focus on the script a bit more, my group and i took time to read and analyse the script, to see what we could add, such as gestures, reactions in different places where we could move in sync or moving together as an ensemble, however going though this whole process of Absurdist was very challenging to come up with ideas due to the fact that it's nonsensical, the reason and saying this is because when trying to add gestures etc. we didn't want it to look like it make sense, therefor we would try to do the opposite for example when saying "There were nobody there the fist time nor the second time what makes you thing their well be the this time" in-staid of putting two finger up we put one finger up.however we manage to overcome everything at the end and make it work.
pictures of the script with our final ideas.
5. This lesson we my group and I showed Miss Katie our final idea, and miss Katie was really pleased with what we came up with. However their was movements and different tone of voices Miss Katie told us to take out some of the movements and gesture, and try to make it more simple, because the simpler it is the better i could be. Adding to much could make it to dramatic although it suppose to be dramatic, the lest action sometimes is the best.
6. In the last lesson before half term and the show, as we were the fist group to be off script my group tried the piece without the script, and we tried or final idea, as you will see in the video i will put at the button most of us knows our line and we were off script however it wasn't as perfect as if could have been because we did make lot of mistakes and for some of the actions, i also forgot one line,but i still enjoyed doing this and getting the opportunity to make Miss Katie record this for up to see what we need to work on before the final show. Miss Katie give up feet back and told us what we needed to work on and am sure we toke it into consideration and work really hard to perfect it as a group.
Video Miss Katie toke for us.
It was an amazing pleasure and honor to learn about theater of the Absurd.
Voice of the Actor
Voice of the Actor Unit 103.
Q1- Reflecting back to when you first started the Voice and the Actor unit, how would you describe your voice?
When i first started the voice and the actor unit, I found it very hard to project and in my opinion, my voice was weak because i didn't know how to control my breathing. Therefore when i try to project during a vocal exercise warm up, i found it really hard to control my breathing.For example when we were doing the breathing warm up, we had to focus on using our diaphragm in order to help controlling our breath whilst saying our lines. when we started the exercise i wasn't able to do it properly in order to help me project my voice properly whilst controlling my breath.
Q2- Once you began to be more aware of your voice when working on text, what would you describe as your vocal strength as a performer?
when i began working on text I've realise my voice has gotten so much stronger whilst projecting and also my clarity has improved.This is because, I've really learned to control my breathing whilst doing vocal and breathing exercises in Justin lesson. i was able to see the difference because whilst doing random i was able to understand the text it made it easier for me to clarify my words in order to project clearly.
Q3-Once you began to be more aware of your voice when working on text, what would you describe as a vocal. (area of development) as a performer.
Articulation: Articulation is the movement of the tongue, lips,jaw and others speech organs ( the articulator) order to make speech sounds, being able to produce the correct vocal sound. Its mostly being to pronounce the word properly.
i think i really need to work on articulating my words, so that the audience wouldn't get lost in my words. this because i'm from the Caribbean and i have a really strong accent and the audience could really find it hard to understand what i'm trying to say, and this could also make them easily lose focus.
Q4-Now you are aware of vocal terminology such as Pitch, Articulation, and Clarity etc... How have you used these vocal areas in practice when working on text? And how have they improved your vocal development?
now that am aware of the different terminology such as Pitch, Articulation etc... i find whilst i was working on script during Random, i really needed to focus on my articulation, because Debbie Tucker Green wrote her play in a really fast past so i needed to articulate as much a possible so people could understand what i was saying. this enhanced my vocal development as i knew how to articulate, whilst articulating difficult,easy word from the text.
clarity was also very important whilst working on the script by Debbie Tucker Green, i made sure my clarity was clear and understandable when working on text. i did this by slowing down and not rushing the words it give me time to articulate and tell the story though my emotion and words as much as possible.
Q5-What vocal challenges have you faced when working on your melodrama and random scenes? please select a vocal challenge from each scene and explain the reason for the particular vocal challenges.
Whilst working on my melodrama and random scenes, I really struggle and had a lot of vocal challenges. For example, my pitch was a challenge for me whilst working on my melodrama scenes as I was playing an angles and I had to sound very peaceful and angelic. That was really challenging because i had to hold my pitch throughout the entire piece. This character voice was challenging because I had to change my voice to fit my characters.
Moreover, the vocal challenges that I faced when working on my random scenes was clarity and emotion, Debbie Tucker Green wrote in a fast pace and some of my dialogue had difficult understanding for example the line "when the blood gets old and dry, oh!!" That was a difficult line to show emotion at first because i was too focused on the pace of the writing, but then got told about the meaning of it and realised what I had to do! And I worked on it,and put way more emotions, because I understood the meaning behind of it.
Q6- What vocal strengths have you discovered whilst working on your melodrama and random scenes? please select a vocal strength from each scene and explain the reason this is a vocal strength.
whilst working on my melodrama scenes, my vocal strength was projection and clarity, this because i was playing an high status, because i was the great Angle who was turning Ezekiel into and Hero. I had to portray my character with strength, elegant and power that's way i had to project and be as clear as possible. therefor my voice had to match my character.
however, whilst working on Random scenes, my vocal strength was my clarity, due to the fact that i was able to be clear with my lines and as fast has the pace was i was able to project properly and clearly, and i was able to do successfully.
Q7-Why is it important for actors to understand the importance and correct use of voice?
It is very important and crucial, for an actor to understand the importance and correct was to use you voice because as an actor you have to be able to tell the story with your voice and emotions as much as your actions. Moreover, it's also important to use the right vocal terminology when on stage as it helps bring the character to life, not only physically and emotionally. it teaches you how to use your voice properly, and helps you not to strain your voice. when you understand the right way and usefulness of your voice you can do many different things to increase the value of it.
Q8- Please set a specific vocal target for yourself moving forward and provide reasoning for the target you have set.
My vocal target for the future is i want to keep working on my clarity, because due to the fact that am from the Caribbean i have a really strong accent, and i feel like clarity is very important for the audience because if your not clear enough the audience wouldn't understand what your saying. i could do this by projecting and articulating my lines as much as possible, by opening my mouth,and using my teeth and tongue.
Vocal blog!
Q1- Reflecting back to when you first started the Voice and the Actor unit, how would you describe your voice?
When i first started the voice and the actor unit, I found it very hard to project and in my opinion, my voice was weak because i didn't know how to control my breathing. Therefore when i try to project during a vocal exercise warm up, i found it really hard to control my breathing.For example when we were doing the breathing warm up, we had to focus on using our diaphragm in order to help controlling our breath whilst saying our lines. when we started the exercise i wasn't able to do it properly in order to help me project my voice properly whilst controlling my breath.
Q2- Once you began to be more aware of your voice when working on text, what would you describe as your vocal strength as a performer?
when i began working on text I've realise my voice has gotten so much stronger whilst projecting and also my clarity has improved.This is because, I've really learned to control my breathing whilst doing vocal and breathing exercises in Justin lesson. i was able to see the difference because whilst doing random i was able to understand the text it made it easier for me to clarify my words in order to project clearly.
Q3-Once you began to be more aware of your voice when working on text, what would you describe as a vocal. (area of development) as a performer.
Articulation: Articulation is the movement of the tongue, lips,jaw and others speech organs ( the articulator) order to make speech sounds, being able to produce the correct vocal sound. Its mostly being to pronounce the word properly.
i think i really need to work on articulating my words, so that the audience wouldn't get lost in my words. this because i'm from the Caribbean and i have a really strong accent and the audience could really find it hard to understand what i'm trying to say, and this could also make them easily lose focus.
Q4-Now you are aware of vocal terminology such as Pitch, Articulation, and Clarity etc... How have you used these vocal areas in practice when working on text? And how have they improved your vocal development?
now that am aware of the different terminology such as Pitch, Articulation etc... i find whilst i was working on script during Random, i really needed to focus on my articulation, because Debbie Tucker Green wrote her play in a really fast past so i needed to articulate as much a possible so people could understand what i was saying. this enhanced my vocal development as i knew how to articulate, whilst articulating difficult,easy word from the text.
clarity was also very important whilst working on the script by Debbie Tucker Green, i made sure my clarity was clear and understandable when working on text. i did this by slowing down and not rushing the words it give me time to articulate and tell the story though my emotion and words as much as possible.
Q5-What vocal challenges have you faced when working on your melodrama and random scenes? please select a vocal challenge from each scene and explain the reason for the particular vocal challenges.
Whilst working on my melodrama and random scenes, I really struggle and had a lot of vocal challenges. For example, my pitch was a challenge for me whilst working on my melodrama scenes as I was playing an angles and I had to sound very peaceful and angelic. That was really challenging because i had to hold my pitch throughout the entire piece. This character voice was challenging because I had to change my voice to fit my characters.
Moreover, the vocal challenges that I faced when working on my random scenes was clarity and emotion, Debbie Tucker Green wrote in a fast pace and some of my dialogue had difficult understanding for example the line "when the blood gets old and dry, oh!!" That was a difficult line to show emotion at first because i was too focused on the pace of the writing, but then got told about the meaning of it and realised what I had to do! And I worked on it,and put way more emotions, because I understood the meaning behind of it.
Q6- What vocal strengths have you discovered whilst working on your melodrama and random scenes? please select a vocal strength from each scene and explain the reason this is a vocal strength.
whilst working on my melodrama scenes, my vocal strength was projection and clarity, this because i was playing an high status, because i was the great Angle who was turning Ezekiel into and Hero. I had to portray my character with strength, elegant and power that's way i had to project and be as clear as possible. therefor my voice had to match my character.
however, whilst working on Random scenes, my vocal strength was my clarity, due to the fact that i was able to be clear with my lines and as fast has the pace was i was able to project properly and clearly, and i was able to do successfully.
Q7-Why is it important for actors to understand the importance and correct use of voice?
It is very important and crucial, for an actor to understand the importance and correct was to use you voice because as an actor you have to be able to tell the story with your voice and emotions as much as your actions. Moreover, it's also important to use the right vocal terminology when on stage as it helps bring the character to life, not only physically and emotionally. it teaches you how to use your voice properly, and helps you not to strain your voice. when you understand the right way and usefulness of your voice you can do many different things to increase the value of it.
Q8- Please set a specific vocal target for yourself moving forward and provide reasoning for the target you have set.
My vocal target for the future is i want to keep working on my clarity, because due to the fact that am from the Caribbean i have a really strong accent, and i feel like clarity is very important for the audience because if your not clear enough the audience wouldn't understand what your saying. i could do this by projecting and articulating my lines as much as possible, by opening my mouth,and using my teeth and tongue.
Vocal blog!
Voice and the Actor:
Create a specific vocal exercise programme for yourself to enhance your
personal vocal development. Your vocal programme most consist of three vocal
areas that aim to improve your voice as a performer. The exercise must provide
clear step-by-step instruction on how the exercises are to be carried out and
must be clearly formatted
1: first vocal exercise.
Throughout the past month I have been
rehearsing for hairspray, and there’s a vocal and clarity game called “fuzzy
duck, ducky fuzz”. Thought by Tyler.
.We first start by
sitting or standing in a circle. Tyler then give the instruction on how to play
the game, it has 3 rules, which is.
1. The first person has to say Fuzzy Duck” to
the person next to them, going in the direction it started rather its clockwise or anticlockwise.
2. Then the following person has to
respond/answer with a “Ducky Fuzz” but also add the “fuzzy duck” at the end,
for the following person to answer with a “Ducky Fuzz”. This goes on till
everyone at lease has a chance to say it.
3. But
there’s also a way to change direction, if you start the game anticlockwise,
mess people up and see if their focus and how clear their clarity is you could
change the direction by saying ”Does He”.
4. This will really affect them, and show if
they're paying attention because the game is in a fast pace probably,( one clap
between every person, and if someone says does he then have to answer with one
which is “Ducky Fuzz” not both like usually. The person will probably end up
saying (does he f***, or f***y fuzz) and they will be out of the game.
2: second vocal exercise.
Release tension in the body!
1. You first
stand in a neutral position with both feet hips weights apart.
2. Then begin to slowly stretch both arms upwards
on a count of ten second then downwards on a count of ten seconds also.
3 3.Followed by
relaxing the arms and back in neutral again.
4 . Slowly begin
to rotate the head both ways clockwise and anticlockwise, to release the tension
in the neck, and do this for ten sec each both sides.
5. Bend the
legs slightly and place the chain onto the chest then slow roll down and swing
from left to right.
6.Then roll
back up with the chin back on chest then back to the centre.
3. third vocal exercise.
the Laban effort there are four different types
1.Push.
2.Dab.
3.Punch.
4.Ring.
doing this help your words sound more truthful with proper intentions.
Saturday 20 May 2017
Jackie Unit 19: principles of acting/ researcher and character development.
Research about tomorrow.
Tomorrow is a play writing by Simon Vinnicombe, in 2014 the play is about a group of year 11, who are on their last day of secondary school, The first scene follows them on the last day of school which is set in April/June and the second is prom night and the last scene is about them collecting their results. The theme of the play is mostly about the future, about what their perspective and chances are in life. its about all type of stuff such as love, friendship, lush all the type of massive things you could deal with when you're that young. with these amazing characters.
Names of characters that we played:
Peter: played by Tyrell. is a boy without a peer group, yet to find his niche. He is never comfortable within a group and this manifests itself in his tentative physical movements. He works very hard for successes.
Lana: played by Bianca. is acutely shy, she is desperate to be hidden from the world. Incredibly clever and very kind but without any of the social skills to go with it. AN A* student in every subject.
Zack: played by Dorant. is a massive presence in the room. He can swish from being warm to ferocious in a moment but a natural charisma. When he is up, the sun shines on everyone.
Naomi: played by Natalia. has an odd maturity which doesn't match her outward appearance. she's fiercely intelligent, and is constantly battling to hide any of her vulnerabilities. she does her best to hide her prettiness.
Kelly: played by Morgan. is a ball of anxiety. she feels the full force of external pressure to succeed and is on the edge of exhaustion. she kind and open and genuinely loves being at school. constantly worried as to whether or not others like her.
Billy: played Ezekiel. is full of artificial confidence. His every movement is dictated by his desire to be liked A ball of energy. he has a quick wit and a desperate need to be approved of.
Shulay: played by Jashida (Me). tries to be brash and loud in an attempt to hide her lack of confidence.
Shadia: played by Temwanie. is extremely bright and ambitious. she is loyal and fiercely protective of those close to her. she maternal nature about her which believes her years.
Sam: played by Rophie. is a scruffy, clumsy mess of limbs. It's as if he has not frown into his body yet. He is always in he immediate, always upbeat. A loyal huge-hearted boy.
Matt: played by Edgar. is an athlete and moves with the casual confidence of a sportsman. HE is less comfortable in classroom and gets frustrated with his inability to articulate himself. An admixture of confidence and insecurity. A good-looking young man.
Chloe: played by Yasmin. has a quiet confidence born of years of popularity. she has a restlessness about her, as if her anger is about to bubble over she is naturally pretty and takes great care over her appearance.
We did the hole of act One which is set in April/June, the last day of school, in the assembly hall. with tables and chairs set out like were going to do an exam.
About Simon Vinnicombe.
Simon Vinnicombe is a British writer, who began his career when he was invited to join the Royal Court Theatre in a 'Super Group' within the young writes programme. His two plays, year 10 (2005) and cradle me (2008), opened at the finborough Theatre. Year 10 was named Time Out critics' choice and subsequently transferred to the BAC and the festival premieres second edition, a festival by the Theatre National de Strasbourg and Le Maillion, and as part of the Brittany International Theatre Festival in 2006. bout year 10 and cradle me have been performed across Europe in several different languages. Simon Vinnicombe was also part of the BBC writers' Academy 2010 for Television and has subsequently written for both TV and film. He won Pearson Award for playwright in the same year. His play City love was performed at the Bussey Building in September 2013. His other work has been produced at the Bush, Union Theater, Edinburgh Festival, Southwark Playhouse, the Old Vic, the Manhattan Theatre Club, New York City, and on BBC Radio 4.
My character research.
Shulay is an 16 year old, who is in year 11, she cares a lot about her grade and school but doesn't shows it. She is the type who would spend her day outing with her friend, shopping and doing her nails trying to impress guys and her friends with her attitude and beauty. Her ambition is to pass her GCSE's and show off her high status when she has the chance. She enjoys making people feel bad with just using word. Her biggest fears is not living up her her friends expectations of her, and not passing her exam, because that's still a side of her that she hides from her friends. My character believes in God, however her greatest pleasure is making people feel terrible about them self, she really enjoys making people feel down, she love finding bad and horrible things to say too them. Therefor her worst nightmare is to have someone bring her down when she's trying to show of her high status, for example when Yazmin character Chloe she trying to stick up for herself and told my character to shut up my character responded with a " you didn't just tell me too shut up" and quickly find something else to throw at her, that's why she responded quickly. cause she don't people too get a chance to bring her down. however there's another character that she really fancy name Zack and he has a higher status the she does, she really likes him but she cant show it because her best friend and him already has a thing. I know other characters sees my character as a B*ITCH but i don't mind because thats what i want them too see me as.
Rehearsals log about what really help me develop my character.
1. One lesson we took off, reading the script and try to start acting out the piece, and we was really struggling as an ensemble and Miss Jackie realised that. Therefor she took us out into the corridor to observe the way our other class mates are behaving, and that really helped me because whilst we was in the corridor i realised that they were more open more focus and they were always listing to everything and everyone even though some are on their phone or listing to music, they was still curious about what was going on. therefor i took that into consideration and try to do that with my character, moreover we got the opportunity to experiment with our character a bit more.
2. I realised because my character was one of the high status people she had a lot of advantage to be more free but it was a bit complicated cause i don't consider myself as some who is high status so i had to change a bit and be more mean and observing about what others was doing.
3. Once we started getting confident with our character, the piece started to flow, we began add different ideas and working as an ensemble to make the piece work. there was time we would struggle because we would get a bit distracted and the energy will start to drop, but we would always find a way to pick back up the pace and stay focus as a ensemble.
My character costume idea.
White signed shirt because it's our last day.
Black skirt high sock and black shoes.
M y character props .
pretzels to snake on whilst acting.
Blue bag!
Tomorrow is a play writing by Simon Vinnicombe, in 2014 the play is about a group of year 11, who are on their last day of secondary school, The first scene follows them on the last day of school which is set in April/June and the second is prom night and the last scene is about them collecting their results. The theme of the play is mostly about the future, about what their perspective and chances are in life. its about all type of stuff such as love, friendship, lush all the type of massive things you could deal with when you're that young. with these amazing characters.
Names of characters that we played:
Peter: played by Tyrell. is a boy without a peer group, yet to find his niche. He is never comfortable within a group and this manifests itself in his tentative physical movements. He works very hard for successes.
Lana: played by Bianca. is acutely shy, she is desperate to be hidden from the world. Incredibly clever and very kind but without any of the social skills to go with it. AN A* student in every subject.
Zack: played by Dorant. is a massive presence in the room. He can swish from being warm to ferocious in a moment but a natural charisma. When he is up, the sun shines on everyone.
Naomi: played by Natalia. has an odd maturity which doesn't match her outward appearance. she's fiercely intelligent, and is constantly battling to hide any of her vulnerabilities. she does her best to hide her prettiness.
Kelly: played by Morgan. is a ball of anxiety. she feels the full force of external pressure to succeed and is on the edge of exhaustion. she kind and open and genuinely loves being at school. constantly worried as to whether or not others like her.
Billy: played Ezekiel. is full of artificial confidence. His every movement is dictated by his desire to be liked A ball of energy. he has a quick wit and a desperate need to be approved of.
Shulay: played by Jashida (Me). tries to be brash and loud in an attempt to hide her lack of confidence.
Shadia: played by Temwanie. is extremely bright and ambitious. she is loyal and fiercely protective of those close to her. she maternal nature about her which believes her years.
Sam: played by Rophie. is a scruffy, clumsy mess of limbs. It's as if he has not frown into his body yet. He is always in he immediate, always upbeat. A loyal huge-hearted boy.
Matt: played by Edgar. is an athlete and moves with the casual confidence of a sportsman. HE is less comfortable in classroom and gets frustrated with his inability to articulate himself. An admixture of confidence and insecurity. A good-looking young man.
Chloe: played by Yasmin. has a quiet confidence born of years of popularity. she has a restlessness about her, as if her anger is about to bubble over she is naturally pretty and takes great care over her appearance.
We did the hole of act One which is set in April/June, the last day of school, in the assembly hall. with tables and chairs set out like were going to do an exam.
About Simon Vinnicombe.
Simon Vinnicombe is a British writer, who began his career when he was invited to join the Royal Court Theatre in a 'Super Group' within the young writes programme. His two plays, year 10 (2005) and cradle me (2008), opened at the finborough Theatre. Year 10 was named Time Out critics' choice and subsequently transferred to the BAC and the festival premieres second edition, a festival by the Theatre National de Strasbourg and Le Maillion, and as part of the Brittany International Theatre Festival in 2006. bout year 10 and cradle me have been performed across Europe in several different languages. Simon Vinnicombe was also part of the BBC writers' Academy 2010 for Television and has subsequently written for both TV and film. He won Pearson Award for playwright in the same year. His play City love was performed at the Bussey Building in September 2013. His other work has been produced at the Bush, Union Theater, Edinburgh Festival, Southwark Playhouse, the Old Vic, the Manhattan Theatre Club, New York City, and on BBC Radio 4.
My character research.
Shulay is an 16 year old, who is in year 11, she cares a lot about her grade and school but doesn't shows it. She is the type who would spend her day outing with her friend, shopping and doing her nails trying to impress guys and her friends with her attitude and beauty. Her ambition is to pass her GCSE's and show off her high status when she has the chance. She enjoys making people feel bad with just using word. Her biggest fears is not living up her her friends expectations of her, and not passing her exam, because that's still a side of her that she hides from her friends. My character believes in God, however her greatest pleasure is making people feel terrible about them self, she really enjoys making people feel down, she love finding bad and horrible things to say too them. Therefor her worst nightmare is to have someone bring her down when she's trying to show of her high status, for example when Yazmin character Chloe she trying to stick up for herself and told my character to shut up my character responded with a " you didn't just tell me too shut up" and quickly find something else to throw at her, that's why she responded quickly. cause she don't people too get a chance to bring her down. however there's another character that she really fancy name Zack and he has a higher status the she does, she really likes him but she cant show it because her best friend and him already has a thing. I know other characters sees my character as a B*ITCH but i don't mind because thats what i want them too see me as.
Rehearsals log about what really help me develop my character.
1. One lesson we took off, reading the script and try to start acting out the piece, and we was really struggling as an ensemble and Miss Jackie realised that. Therefor she took us out into the corridor to observe the way our other class mates are behaving, and that really helped me because whilst we was in the corridor i realised that they were more open more focus and they were always listing to everything and everyone even though some are on their phone or listing to music, they was still curious about what was going on. therefor i took that into consideration and try to do that with my character, moreover we got the opportunity to experiment with our character a bit more.
2. I realised because my character was one of the high status people she had a lot of advantage to be more free but it was a bit complicated cause i don't consider myself as some who is high status so i had to change a bit and be more mean and observing about what others was doing.
3. Once we started getting confident with our character, the piece started to flow, we began add different ideas and working as an ensemble to make the piece work. there was time we would struggle because we would get a bit distracted and the energy will start to drop, but we would always find a way to pick back up the pace and stay focus as a ensemble.
White signed shirt because it's our last day.
Black skirt high sock and black shoes.
M y character props .
pretzels to snake on whilst acting.
Blue bag!
Friday 24 March 2017
MY CHARACTER AND COSTUME IDEA!
My character is 'Little Red Riding Hood'.
We are not using the original 'Little Red Riding Hood', am making my character more modernised.
costume ideas for my character
I choose this look because it's more modern and easy to achieve, buy or make.
The Moral of the Story is that a child should not speak to strangers because it is dangerous and there might not be good intentions. When people use animals to portray good and evil in a story it is because children are driven by their imagination and animals intrigues children because they are easy to be recognise
Background Check:
"Little Red Riding Hood", or "Little Red Ridinghood", also known as "Little Red Cap" or simply "Red Riding Hood", is a European fairy tale about a young girl and a Big Bad Wolf. Its origins can be traced back to the 10th century by several European folk tales, including one from Italy called The False Grandmother (Italian: La finta nonna), later written among others by Italo Calvino in the Italian Folktales collection; the best known versions were written by Charles Perrault and Brothers Grimm. The story has been changed considerably in various retellings and subjected to numerous modern adaptations and readings. It is number 333 in the Aarne-Thompson classification system for folktales. Variations of the story have developed, incorporating various cultural beliefs and regional dialects into the story. An example of this is "Kawoni's Journey Across the Mountain: A Cherokee Little Red Riding Hood", which introduces Cherokee myths and language into the traditional story. Another such example is "Petite Rouge Riding Hood", which approaches the story from a Cajun perspective.
We are not using the original 'Little Red Riding Hood', am making my character more modernised.
costume ideas for my character
I choose this look because it's more modern and easy to achieve, buy or make. 
The Moral of the Story is that a child should not speak to strangers because it is dangerous and there might not be good intentions. When people use animals to portray good and evil in a story it is because children are driven by their imagination and animals intrigues children because they are easy to be recognise
Background Check:
"Little Red Riding Hood", or "Little Red Ridinghood", also known as "Little Red Cap" or simply "Red Riding Hood", is a European fairy tale about a young girl and a Big Bad Wolf. Its origins can be traced back to the 10th century by several European folk tales, including one from Italy called The False Grandmother (Italian: La finta nonna), later written among others by Italo Calvino in the Italian Folktales collection; the best known versions were written by Charles Perrault and Brothers Grimm. The story has been changed considerably in various retellings and subjected to numerous modern adaptations and readings. It is number 333 in the Aarne-Thompson classification system for folktales. Variations of the story have developed, incorporating various cultural beliefs and regional dialects into the story. An example of this is "Kawoni's Journey Across the Mountain: A Cherokee Little Red Riding Hood", which introduces Cherokee myths and language into the traditional story. Another such example is "Petite Rouge Riding Hood", which approaches the story from a Cajun perspective.
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