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:

https://www.youtube.com/watch?v=W9ZNKGrpnKM

https://www.youtube.com/watch?v=8LuxOYIpu-I

https://www.youtube.com/watch?v=NaMgdlUcsko

https://www.youtube.com/watch?v=G_J26zSCnCI

theatre of the absurd theory lesson./ research/ 6 reahersal log!

 

Bald Prima Donna,The

Eugene Ionesco, Donald Watson

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:

“

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

                          

Theatre Of The Absurd.

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:

Existentialism- A philosophical theory or approach which emphasises the existence of the individual person as a free and responsible agent determining their own development through acts of the will.

Farce- a comic dramatic work using buffoonery and horseplay and typically including crude characterisation and ludicrously improbable situations.

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!

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.

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!

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.  

2 children theatre company.

Chicken Ched.

The reason it's called chicken  Shed, is because years ago the people who owned the company were very desperate to find a place and the own asked a friend if there was a place they could use just to start off the company, and the woman said yes sure and it was an old chicken shed that when they entered it still had some chicken feathers.

I found out that Chicken Shed is open to everyone from every background, they like to make people comfortable and confident with each other. Moreover they create a space where everyone feels safe, they listen to each other and also listen to their opinions, so that they could feel ownership.

They also have a group called tale from the Chicken Shed. they create children theatre for the age 0 to 6 years they use a lot off puppetry in animal form that's also in bright colors and bright colours like yellow, orange and red to attract the children. they also uses a lot of freeze frames to tell stories. They also uses boxes painted in different colours as the background.

Here's photos of the companies:

 
    

This company is the reason i decided to use bright colours and puppetry in my piece about the 'Fox' and the 'Crow, because i realise kids are attracted by bright colour it really capture their attention. their work is really unique and the way they uses colour really defined who they are, and how they just want the kids to enjoy them self and have fun while watching the play. They really engage with the children and make them have a good time, and i feel like that the type of recreating i want to get, and experience the same reaction from the children.

They really inspire me because they also go to hospital and place for thoses who are not able to access their regular workshops.

vedios




The Unicorn Theatre:

The Unicorn Theatre was found by Caryl Jenner, as a touring company in '1947' with a commitment to give children a valuable and often first ever experience of quality theatre.They strive to push the boundaries of imagination in everything they do; by welcoming families, schools. and young people for an unforgettable theatrical experience that will expand their horizon, and change their perspective, and  challenge how they will see and understand each other.
 

The unicorn theatre made a little trailer of one, of the pieces they made and they uses puppetry made out of cardboard, to make the scenes. moreover they uses shadow and lighting  to create a story while the cast members moving the puppets made out of boxes around. They also uses projection of raindrops in the background,and sound effects.

Here's the trailer i found:



This piece give me an amazing idea for one of the story i shoose, called Tom and Jerry. we could use a white background and use our human characters to portray the Cat and the Rat, while there shadow is playing on the white background.

this will really be funny because the children will actually think their get hit or they are really fighting when it just their shadows moving. and puppetry really attract childrens, makes enhances their imagination. I really enjoyed this trailer, because it was very creative, they really think out of the box.

3 childre stories and how they could be used for our piece and why they are suitable.

 During my research into possible children's theatre stories for development, i decided to use.
The Fox and Crow 
Why i find this story suitable for Children Theatre .

I think we could use this story because the fox is trying to trick the crow. It shows that there is a "good guy" and a "bad guy", which is very clear to understand and that makes it suitable for young children. Animals  engage children because they are intriguing and easily recognisable, this is because children are driven by morality,it's easier to use animals to describe good and bad because if you use human it makes it a bit complicated for them. because children know that their loyalty should lie with the character who stands for what is good and right.

This story is about deception and manipulation, human behaviours that the children should recognise as wrong. My idea for this play would be to take the children on an interactive theatrical journey, one in which the children are encouraged by by the narrator to respond to the 'bad' characters through audience participation, calling upon the tradition of pantomime. I would also like to integrate French in to the piece telling parts of the story in basic french, encouraging the development of another language in the piece as the play progresses. This would make this an educational experience also. 

Costume and scenes ideas: we could have a group of three people,one person to play the "Crow", dress in (black) and  the other person to play the "fox", dress in (orange) and a narrator. The narrator would be telling the story to the children, whilst controlling the people acting out the "fox" and the "Crow" as a puppet. Therefore whilst controlling the fox and the crow. In the background, we could have a bright green tree, with blue sky and a shiny sun to make the colours more effective for the children. Moreover a (black) platform for the person who acting as the crow to sit or stand on to show the heights difference from the"Crow" and the "Fox" .

Here a video i watch on youtube about the crow and the fox.

https://www.youtube.com/watch?v=1ataamAg4X8
The Fox and Crow, in French and English.
English
Master Crow perched on a tree, 
was holding a cheese in his beak. 
Master Fox, enticed by the smell 
said something about this language:!. 
"Well, Hello Mister Crow
! How beautiful you are beautiful you seem to me 
without lying, if your song 
is like your plumage, 
You Are the Phoenix of the hosts of these woods. " 
At these words the Raven feels no joy; 
And to show his beautiful voice, 
He opens his beak wide, lets his prey fall. 
The Fox grabs it, and said, "My good Sir, 
Learn that every flatterer 
Lives at the expense of those who heed
This lesson is well worth a cheese, probably" 
The Crow, ashamed and embarrassed, 
Swore, A little late, that he would no longer be taken.
French
Maître Corbeau, sur un arbre perché,

Tenait en son bec un fromage.
Maître Renard, par l'odeur alléché,
Lui tint à peu près ce langage :
"Hé ! bonjour, Monsieur du Corbeau.
Que vous êtes joli ! que vous me semblez beau !
Sans mentir, si votre ramage
Se rapporte à votre plumage,
Vous êtes le Phénix des hôtes de ces bois."
A ces mots le Corbeau ne se sent pas de joie ;
Et pour montrer sa belle voix,
Il ouvre un large bec, laisse tomber sa proie.
Le Renard s'en saisit, et dit : "Mon bon Monsieur,
Apprenez que tout flatteur
Vit aux dépens de celui qui l'écoute :
Cette leçon vaut bien un fromage, sans doute. "
Le Corbeau, honteux et confus,
Jura, mais un peu tard, qu'on ne l'y prendrait plus.

A background check.                                                       Found on wikipedia. 

The Fox and the Crow is the second fable of Book i, of Jean de La Fontaine located in the first collection of Fables , published for the first time in 1668 . There are two sources for this fable: the version of Aesop ( "The Fox and the Crow") and the Latin fabulist Phaedrus (Macedonia - 10 BC. - To 54 AD. , Author of twenty-three fables imitated by Aesop). The version of Phaedra (Book I, 13) was translated into French by Sacy in 1647.

It was set to music by Maurice Delage in 1931 .

The Fox and the Crow is one of Aesop's Fables, numbered 124 in the Perry Index. There are early Latin and Greek versions and the fable may even have been portrayed on an ancient Greek vase. The story is used as a warning against listening to flattery.

Tom and Jerry.

This story is about two animal, a Mouse and a Cat, who are always competing against each other, however both are after two different, (goals) "Tom" the cat is more focused on catching Jerry. And Jerry the "Rat" is more focused on finding his cheese. these two friends are always in a conflict with each other, and ending up being friends again.

Why i find this story suitable.
I find this story suitable for children theatre because, it's funny and it have a lot of actions and conflicts, that the kids are going to find hilarious and really intriguing, because they are acting as animals. the moral behind this story is that even if your two different people, with different personality you don't have to compete with each other. and i find this good for the children because it shows them that it's okay to be different, but love and support one and other.

we can achieve this by making the characters more modern, by keeping their appearance as animals
but instead of making the sound like a Mouse or a Cat, make them speak as humans Moreover we could also use bright colours to make the scene more effective. and show the joy and the danger the characters are in. we could also make Tom have an IPhone to track "Jerry", whilst making his way or journey, to find his cheese. Moreover we could end the scenes by making "Tom", have Jerry cheese and "Jerry" have tom phone.So that they could come together to return each other belongings, and end up listing to music on tom phone and sharing Jerry cheese. this also shows the children that sharing is caring. and sometimes friends is all you have.

here's some videos of Tom and Jerry.
https://www.youtube.com/watch?v=-h_IOcC9xsg
https://www.youtube.com/watch?v=Qer1RH_X4Io

Background check.                                                 found on wikipedia. 

 Tom and Jerry is an American animated series of short films created in 1940, by William Hanna and Joseph Barbera. It centers on a rivalry between its two title characters, Tom and Jerry, and many recurring characters, based around slapstick comedy.

In its original run, Hanna and Barbera produced 114 Tom and Jerry shorts for Metro-Goldwyn-Mayer from 1940 to 1958. During this time, they won seven Academy Awards for Animated Short Film, tying for first place with Walt Disney's Silly Symphonies with the most awards in the category. After the MGM cartoon studio closed in 1958, MGM revived the series with Gene Deitch directing an additional 13 Tom and Jerry shorts for Rembrandt Films from 1961 to 1962. Tom and Jerry then became the highest-grossing animated short film series of that time, overtaking Looney Tunes. Chuck Jones then produced another 34 shorts with Sib-Tower 12 Productions between 1963 and 1967. 

The Grinch Stole Christmas.

How The Grinch Stole Christmas, by Dr. Suess

Every Who Down in Whoville Liked Christmas a lot...
But the Grinch,Who lived just north of Whoville, Did NOT!
The Grinch hated Christmas! The whole Christmas season!
Now, please don't ask why. No one quite knows the reason.
It could be his head wasn't screwed on just right.
It could be, perhaps, that his shoes were too tight.
But I think that the most likely reason of all,
May have been that his heart was two sizes too small.
Whatever the reason, His heart or his shoes,
He stood there on Christmas Eve, hating the Whos,
Staring down from his cave with a sour, Grinchy frown,
At the warm lighted windows below in their town.
For he knew every Who down in Whoville beneath,
Was busy now, hanging a mistletoe wreath.
"And they're hanging their stockings!" he snarled with a sneer,
"Tomorrow is Christmas! It's practically here!"
Then he growled, with his Grinch fingers nervously drumming,
"I MUST find some way to stop Christmas from coming!"
For Tomorrow, he knew, all the Who girls and boys,
Would wake bright and early. They'd rush for their toys!
And then! Oh, the noise! Oh, the Noise!
Noise! Noise! Noise!
That's one thing he hated! The NOISE!
NOISE! NOISE! NOISE!
Then the Whos, young and old, would sit down to a feast.
And they'd feast! And they'd feast! And they'd FEAST!
FEAST! FEAST! FEAST!
They would feast on Who-pudding, and rare Who-roast beast.
Which was something the Grinch couldn't stand in the least!
And THEN They'd do something He liked least of all!
Every Who down in Whoville, the tall and the small,
Would stand close together, with Christmas bells ringing.
They'd stand hand-in-hand. And the Whos would start singing!
They'd sing! And they'd sing! And they'd SING!
SING! SING! SING!
And the more the Grinch thought of this Who ChristmasSing,
The more the Grinch thought, "I must stop this whole thing!"
"Why, for fifty-three years I've put up with it now!"
"I MUST stop this Christmas from coming! But HOW?"
Then he got an idea! An awful idea!
THE GRINCH GOT A WONDERFUL, AWFUL IDEA!
"I know just what to do!" The Grinch laughed in his throat.
And he made a quick Santy Claus hat and a coat.
And he chuckled, and clucked, "What a great Grinchy trick!"
"With this coat and this hat, I look just like Saint Nick!"
"All I need is a reindeer..." The Grinch looked around.
But, since reindeer are scarce, there was none to be found.
Did that stop the old Grinch? No! The Grinch simply said,
"If I can't find a reindeer, I'll make one instead!"
So he called his dog, Max. Then he took some red thread,
And he tied a big horn on the top of his head.
THEN He loaded some bags And some old empty sacks,
On a ramshackle sleigh And he hitched up old Max.
Then the Grinch said, "Giddap!" And the sleigh started down,
Toward the homes where the Whos Lay asnooze in their town.
All their windows were dark. Quiet snow filled the air.
All the Whos were all dreaming sweet dreams without care.
When he came to the first little house on the square.
"This is stop number one," the old Grinchy Claus hissed,
And he climbed to the roof, empty bags in his fist.
Then he slid down the chimney. A rather tight pinch.
But, if Santa could do it, then so could the Grinch.
He got stuck only once, for a moment or two.
Then he stuck his head out of the fireplace flue.
Where the little Who stockings all hung in a row.
"These stockings," he grinned, "are the first things to go!"
Then he slithered and slunk, with a smile most unpleasant,
Around the whole room, and he took every present!
Pop guns! And bicycles! Roller skates! Drums!
Checkerboards! Tricycles! Popcorn! And plums!
And he stuffed them in bags. Then the Grinch, very nimbly,
Stuffed all the bags, one by one, up the chimney!
Then he slunk to the icebox. He took the Whos' feast!
He took the Who-pudding! He took the roast beast!
He cleaned out that icebox as quick as a flash.
Why, that Grinch even took their last can of Who-hash!
Then he stuffed all the food up the chimney with glee.
"And NOW!" grinned the Grinch, "I will stuff up the tree!"
And the Grinch grabbed the tree, and he started to shove,
When he heard a small sound like the coo of a dove.
He turned around fast, and he saw a small Who!
Little Cindy-Lou Who, who was not more than two.
The Grinch had been caught by this tiny Who daughter,
Who'd got out of bed for a cup of cold water.
She stared at the Grinch and said, "Santy Claus, why,”
"Why are you taking our Christmas tree? WHY?"
But, you know, that old Grinch was so smart and so slick,
He thought up a lie, and he thought it up quick!
"Why, my sweet little tot," the fake Santy Claus lied,
"There's a light on this tree that won't light on one side."
"So I'm taking it home to my workshop, my dear."
"I'll fix it up there. Then I'll bring it back here."
And his fib fooled the child. Then he patted her head,
And he got her a drink and he sent her to bed.
And when CindyLou Who went to bed with her cup,
HE went to the chimney and stuffed the tree up!
Then the last thing he took Was the log for their fire!
Then he went up the chimney, himself, the old liar.
On their walls he left nothing but hooks and some wire.
And the one speck of food That he left in the house,
Was a crumb that was even too small for a mouse.
Then He did the same thing To the other Whos' houses
Leaving crumbs Much too small For the other Whos' mouses!
It was quarter past dawn... All the Whos, still a-bed,
All the Whos, still asnooze When he packed up his sled,
Packed it up with their presents! The ribbons! The wrappings!
The tags! And the tinsel! The trimmings! The trappings!
Three thousand feet up! Up the side of Mt. Crumpit,
He rode with his load to the tiptop to dump it!
"PoohPooh to the Whos!" he was grinchishly humming.
"They're finding out now that no Christmas is coming!"
"They're just waking up! I know just what they'll do!"
"Their mouths will hang open a minute or two,
Then the Whos down in Whoville will all cry BooHoo!"
"That's a noise," grinned the Grinch, "That I simply MUST hear!"
So he paused. And the Grinch put his hand to his ear.
And he did hear a sound rising over the snow.
It started in low. Then it started to grow.
But the sound wasn't sad! Why, this sound sounded merry!
It couldn't be so! But it WAS merry! VERY!
He stared down at Whoville! The Grinch popped his eyes!
Then he shook! What he saw was a shocking surprise!
Every Who down in Whoville, the tall and the small,
Was singing! Without any presents at all!
He HADN'T stopped Christmas from coming! IT CAME!
Somehow or other, it came just the same!
And the Grinch, with his grinch-feet ice-cold in the snow,
Stood puzzling and puzzling: "How could it be so?"
"It came with out ribbons! It came without tags!"
"It came without packages, boxes or bags!"
And he puzzled three hours, till his puzzler was sore.
Then the Grinch thought of something he hadn't before!
"Maybe Christmas," he thought, "doesn't come from a store."
"Maybe Christmas...perhaps...means a little bit more!"
And what happened then? Well...in Whoville they say,
That the Grinch's small heart Grew three sizes that day!
And the minute his heart didn't feel quite so tight,
He whizzed with his load through the bright morning light,
And he brought back the toys! And the food for the feast!
And he, HE HIMSELF! The Grinch carved.

Background:                                              Found on Wikipedia

This is a story that was written by Theodore known as " Dr Seuss" Geisel. The story was written in rhymed verses with illustrations by the author. It's a story about a Grinch, a Grouchy, solitary creature who tried, to put an end to Christmas by stealing Christmas-themed item from houses, near by a town called Whoville on Christmas. however despite everything, all his effort. At the end he returned everything he stole and was a guest of honour at the whos' Christmas dinner.
This story was published as a book by Random House in 1957. The national education association named it one of its teachers ' Top 100 Books for children in 2012 it was ranked number 61 among the " 100 picture Books".

Why i think this is suitable.
I think this story is suitable for children, because it showing the children that stealing is not a good thing to do. Most of the time people steals out of envy, they don't have the things other people have. however it also shows them the repercussion of stealing. Therefore it makes them sad and upset. Finally it teaches them theirs always good in people.