Performance day has come! And I really do believe they were the best two performances we've ever done. Almost everything went better then it had before and the few mistakes made were handled in a professional manor. Some of the things that went well would have to firstly be the energy that went into show. The rave scenes regained the energy that lacked after our first rehearsal with Ben, and we were once again able to enter the true care-free world of Manchester in 1989. The energy also allowed us to drive through each scene without any energy being lost, this meant that the audience were able to stay interested. The audience's cheers and laughter definitely demonstrated this and allowed us to appreciate the comedy that we as a cast have aimed to deliver clearly and seem to have achieved.
Being able to relate to the modern setting of the text boosted my understanding of the plot of the play which I believe is important otherwise it is impossible to invest time and character effort into the performance. Because I believe I have a good understanding of the play it also allowed me to deliver a more relatable story to the audience. This of course created an intimate relationship between the audience and myself because we had a common ground to explore.
Despite the performance going better than I had imagined, there were of course some improvements that I would aim to reach when we perform the show in Stratford-Upon-Avon. For example, during the first show I stumbled on my first line, this was strange because I don't usually forget lines and also it was one of the lines I knew more then the rest because it was the first line I had learnt. On top of this, Shakespeare's work is probably the hardest form of text to improvise as I soon realised. In order to improve I will focus more on my cue lines and my own lines as a whole (of course I did this but I will approach the script in more depth and use repetition in order to hopefully create definite 'line memory'). Another down to this was the fact that the stumble shocked me and so in my first performance I found it harder to play around with the scene and act off of a in the moment impulse because I was a bit shaken. Of course I tried my best not to show this but it definitely made me feel less confident throughout the show.
I would also like to spend more time focusing on the group choreography as I feel as though my own performance lacked the precise timing and effortless look that it perhaps did during the casts first rehearsal with Ben. During this, the ensemble choreography needs to be really sleek and done in unison otherwise the individuals that lack timing stand out more and ruin the overall clean effect. This of course is simple enough to fix with a bit of rehearsing.
In conclusion, the entire Shakespeare term has been a success. My understanding of Shakespeare's life and his work has increased. I feel as though through going to watch a modern version of one of Shakespeare's plays and being in a modern version of one of his plays, has played a big part in allowing me to understand and appreciate his creations.
I have also been given the opportunity to understand all the aspects of a performance by meeting the people behind the costumes, lighting and choreography. Normally we do performances to entertain the audience and the actors are rewarded with a round-of-applause, but being a part of a show with everyone has really reminded me of all the other little people that play a huge part in allowing the show to go on. Without those people there would in fact be no show and so it was a great reminder that the end round of applause wasn't just for the actors but for the playwright, director, choreographer, stage manager, and every other person that has any association with the production.
Tuesday, 30 May 2017
Monday, 29 May 2017
Drive it!
Something we need to improve on is really driving our words throughout the play. One way to do this would be to maintain energy throughout the play and continually throw that energy from one person to the next without letting that energy drop otherwise the loss in energy would replace what's going around. This would be boring for the audience and ruin all our hard work.
One exercise that we've been doing to improve this was to say someones name then say a line from the play in an energised way, then they'd pick someone and say a line etc. If there was a pause or lack of enthusiasm then we'd all have to start again.
During the first few times we played this we weren't very good but perhaps this was because we had a lack of learning lines. But as the weeks went on, we got progressively better until we could continually do it until being asked to stop.
It was really nice to notice as a class the improvement we'd made but it was clear that the scene that we needed to focus putting this energy into was the last scene in the play which is also the longest. Because of the length of the last scene it did become difficult to maintain that continual power that drove us through the previous scenes.
Monday, 1 May 2017
Proxemics and movement
Today we focused on the stage and sections of the stage that would be suitable for say a soliloquy or dialogue to be delivered. Together we discovered that the back of the stage was the most suitable place to for a soliloquy to be delivered (when performing on a thrust stage) because all 3 sides of the audience should be able to see the actor. Of course this doesn't always have to be done this way for other effects, but this gave us a basic understanding of a placement in which the audience could have an intimate moment with the actor.
Similarly a character of higher authority or importance might have a stronger presence along any point center stage. This is because we associate the most important things as being in the middle, front or on top of something. By doing this an atmosphere and opinion of the character being played can be implied without words. Of course posture such as standing tall, firm and solid would also indicate status in the same way that leading the body with the belly could imply that the person of importance isn't necessarily nice or mannorful.
Whereas a character of low status or importance might be to the side of the stage and maintain a static placement of themselves compared to the important people who have the authority to move and go as they please.
Another interesting staging for two individuals sharing dialogue would be placing the two actors on a diagonal at any point on the stage. This would allow at least one of the actors faces to be seen by most if not all of the audience. Personally, I think the best two character conversation would take place from one volt to another (the opposite one), this would work with up to four people and would be effective. One of the reasons that this would be effective would be because the staging is a little more complicated then just having a couple of actors talking to one another at arms length (which is both boring and a bit 'too naturalistic'). It's important to keep the staging interesting otherwise the acting can become boring to the audience and then the playwrights work is ruined.
Other things that are important is to not be too static but to also not move too much otherwise it will distract the audience from the dialogue or other important stage actions.
Similarly a character of higher authority or importance might have a stronger presence along any point center stage. This is because we associate the most important things as being in the middle, front or on top of something. By doing this an atmosphere and opinion of the character being played can be implied without words. Of course posture such as standing tall, firm and solid would also indicate status in the same way that leading the body with the belly could imply that the person of importance isn't necessarily nice or mannorful.
Whereas a character of low status or importance might be to the side of the stage and maintain a static placement of themselves compared to the important people who have the authority to move and go as they please.
Another interesting staging for two individuals sharing dialogue would be placing the two actors on a diagonal at any point on the stage. This would allow at least one of the actors faces to be seen by most if not all of the audience. Personally, I think the best two character conversation would take place from one volt to another (the opposite one), this would work with up to four people and would be effective. One of the reasons that this would be effective would be because the staging is a little more complicated then just having a couple of actors talking to one another at arms length (which is both boring and a bit 'too naturalistic'). It's important to keep the staging interesting otherwise the acting can become boring to the audience and then the playwrights work is ruined.
Other things that are important is to not be too static but to also not move too much otherwise it will distract the audience from the dialogue or other important stage actions.
Friday, 28 April 2017
Scene Objectives
Act 1 Scene 2
During this scene Claudio is to be walked through the streets in his gyves so hat the public can see what happens when you disobey the law.
My scene objective is: To humiliate Claudio
However, I would say that my psychological objective would be the opposite of this. Perhaps: To help.
This is because despite being a member of the law, the Provost actually sympathises Claudio's situation as there's never been such a serious sentence for such a miniscule crime before.
In this scene, the Provost has the highest power and so is in control throughout.
Setting: streets
Act 2 Scene 2
During this scene the Provost tries to persuade Angelo from confirming Claudio's execution without directly stating it.
Scene Objective: To persuade
The Provost is sly in this scene but has to be respectful and careful because despite having to obey Angelo, they don't know him as well as they know the Duke. Angelo's 'rash' decisions could be put on the Provost if they intervene too much.
Setting: Office
Act 2 Scene 3
This scene shows the Provost meeting the undercover Duke.
My scene objective is: To state because the Provost is unaware that the person they're talking to is someone that has a greater status then themselves. There is also a quality of to inform when the Provost explains the mishap of Claudio to him.
Setting: streets
Act 3 Scene 1
During this scene, Claudio and the undercover Duke discuss his dilemma while the Provost sort of guards Claudio in the prison.
Scene objective: To watch Claudio and to invite Isabella when she come to visit him later on in the scene.
Setting: The prison
Act 3 Scene 2
During this scene we carry on Mistress Overdone whom we've arrested.
Scene Objective: To restrain Mistress Overdone and To help Esculus when she asks for it.
Setting: A street
Scene 4 Act 2
This scene includes the Provost telling Pompey that he needs to help the executioner because they're short of staff. However Pompey is against this idea at first and so the Provost's scene objective is: to persuade until she gets fed up and changes it to make him do as she says. In order to do this, there are many other objectives among the text such as to blackmail.
Later in the scene, Claudio enters and the warrant for his death is revealed and so the objective changes to sympathise for his inevitable demise.
Further on in the scene the disguised Duke enters and objectives such as to answer and to inform arise when the discussion of Barnadine arises
Setting: A room in the prison
Act 4 Scene 3
During this scene the Provost invests more of themselves into helping The disguised Duke come up with a plan to preserve Claudio's life. The Provost is kind hearted and so they don't fine it hard to help and to assist him. However when the possibility of the Provost's life being put on the line the Provost begins to question, to doubt and to enquire.
Setting:Another room in the prison
Act 5 Scene 1
This is the scene in which the truth is revealed and the Provost plays a key role in unravelling the ending. But when spoken to the Provost is told that they have let the law down and so lose their jobs but manage to persuade the revealed Duke to not fire them as they hadn't done anything wrong. This is where it was revealed that the Provosts had kept Claudio alive and instead killed a pirate that was already dead which of course the revealed Duke knew that the unrevealed Duke (himself) knew.
Setting: The city gate
During this scene Claudio is to be walked through the streets in his gyves so hat the public can see what happens when you disobey the law.
My scene objective is: To humiliate Claudio
However, I would say that my psychological objective would be the opposite of this. Perhaps: To help.
This is because despite being a member of the law, the Provost actually sympathises Claudio's situation as there's never been such a serious sentence for such a miniscule crime before.
In this scene, the Provost has the highest power and so is in control throughout.
Setting: streets
Act 2 Scene 2
During this scene the Provost tries to persuade Angelo from confirming Claudio's execution without directly stating it.
Scene Objective: To persuade
The Provost is sly in this scene but has to be respectful and careful because despite having to obey Angelo, they don't know him as well as they know the Duke. Angelo's 'rash' decisions could be put on the Provost if they intervene too much.
Setting: Office
Act 2 Scene 3
This scene shows the Provost meeting the undercover Duke.
My scene objective is: To state because the Provost is unaware that the person they're talking to is someone that has a greater status then themselves. There is also a quality of to inform when the Provost explains the mishap of Claudio to him.
Setting: streets
Act 3 Scene 1
During this scene, Claudio and the undercover Duke discuss his dilemma while the Provost sort of guards Claudio in the prison.
Scene objective: To watch Claudio and to invite Isabella when she come to visit him later on in the scene.
Setting: The prison
Act 3 Scene 2
During this scene we carry on Mistress Overdone whom we've arrested.
Scene Objective: To restrain Mistress Overdone and To help Esculus when she asks for it.
Setting: A street
Scene 4 Act 2
This scene includes the Provost telling Pompey that he needs to help the executioner because they're short of staff. However Pompey is against this idea at first and so the Provost's scene objective is: to persuade until she gets fed up and changes it to make him do as she says. In order to do this, there are many other objectives among the text such as to blackmail.
Later in the scene, Claudio enters and the warrant for his death is revealed and so the objective changes to sympathise for his inevitable demise.
Further on in the scene the disguised Duke enters and objectives such as to answer and to inform arise when the discussion of Barnadine arises
Setting: A room in the prison
Act 4 Scene 3
During this scene the Provost invests more of themselves into helping The disguised Duke come up with a plan to preserve Claudio's life. The Provost is kind hearted and so they don't fine it hard to help and to assist him. However when the possibility of the Provost's life being put on the line the Provost begins to question, to doubt and to enquire.
Setting:Another room in the prison
Act 5 Scene 1
This is the scene in which the truth is revealed and the Provost plays a key role in unravelling the ending. But when spoken to the Provost is told that they have let the law down and so lose their jobs but manage to persuade the revealed Duke to not fire them as they hadn't done anything wrong. This is where it was revealed that the Provosts had kept Claudio alive and instead killed a pirate that was already dead which of course the revealed Duke knew that the unrevealed Duke (himself) knew.
Setting: The city gate
Thursday, 27 April 2017
Choreography
We've been doing rigorous warm ups and stretches in order to prepare our bodies for the loose movements that formed the dance style of 89. Our choreographer is called Ben and he's shown us a series of moves such as the running man, in order for us to embody the youth during the second summer of love.
I found this side of the production really fun and Ben told me I was a very fluid dancer with good rhythm. This came as a complete surprise to me as dance has never really been something I've been good at. However this feedback definitely gave me confidence and allowed me to really jump into the dancing world of the play's setting.
The enthusiasm and passion that went into this rehearsal was really strong and worked well however I have a slight worry for next lesson when Ben isn't in, incase the energy lacks or choreography is forgotten.
Another thing that Ben helped us with was transitions between scenes. For example, during some transitions there are rave sections which includes a crowd of ravers that surrounds and carries on the actors for the next scene and takes away the actors from the prior scene. This transition is really smart and almost mimics a special effect in the sense that people disappear and then reappear as if by magic in front of the audiences eyes.
Another transition would be from the first set of choreography to the first scene in which we all go from dancing, to dancing in slow motion which really accentuates the idea and look of being completely in our own world. There's a real feel of everyone being on ecstasy and dancing till the end of time. This then goes back into real time dancing before Escalus and Angelo are seen from each side of the stage and everyone runs off stage as though they are dodging the police. This automatically set the scene for the audience because it becomes obvious that Angelo and Esculus are of higher importance and feared by the young ravers.
I found this side of the production really fun and Ben told me I was a very fluid dancer with good rhythm. This came as a complete surprise to me as dance has never really been something I've been good at. However this feedback definitely gave me confidence and allowed me to really jump into the dancing world of the play's setting.
The enthusiasm and passion that went into this rehearsal was really strong and worked well however I have a slight worry for next lesson when Ben isn't in, incase the energy lacks or choreography is forgotten.
Another thing that Ben helped us with was transitions between scenes. For example, during some transitions there are rave sections which includes a crowd of ravers that surrounds and carries on the actors for the next scene and takes away the actors from the prior scene. This transition is really smart and almost mimics a special effect in the sense that people disappear and then reappear as if by magic in front of the audiences eyes.
Another transition would be from the first set of choreography to the first scene in which we all go from dancing, to dancing in slow motion which really accentuates the idea and look of being completely in our own world. There's a real feel of everyone being on ecstasy and dancing till the end of time. This then goes back into real time dancing before Escalus and Angelo are seen from each side of the stage and everyone runs off stage as though they are dodging the police. This automatically set the scene for the audience because it becomes obvious that Angelo and Esculus are of higher importance and feared by the young ravers.
Tuesday, 18 April 2017
Laban Efforts
In today's lesson we focused on Laban efforts. This technique was created by a theorist names Rudolf Laban and was originally created to cater for dancers but in the 80s it began to be applies in theatre too.
The Laban system can be applies to both speech and movement as one usually influences the other anyway.
For example, a harsh and tough Eastenders character might use the effort of punch or if they're younger perhaps slash to emphasise their confident, strong and not to be messed with persona. This would be juxtaposed by say a princess or fairy that might embody the effort of float or glide depending on the mentality, age and current mood of the character.
Trying out each Laban effort was interesting and whilst doing some it was obvious what stereotypical characters could come out of some of the efforts. It was also difficult at times when the efforts weren't too dissimilar to one another with only one quality among the four changing.
Laban efforts really helped with my character development despite my character not being as extreme as another characters embodiments (e.g Barnadine or Pompey).
I would say that my version of the Provost most often takes up the embodiment of 'glide' because she is sustained in time, she has no need to rush because she is in charge and in control. Her weight is light because she is a woman that isn't fazed by what's going on around her. Her feet are firm on the floor but she has a weightless, graceful look to her. Spatially she is direct because she always knows where she is going and is never lost. She had places to be and people to boss around. Give her attitude and she'll give you professional and fashionable sass. And her flow is free because she has empowerment. She is equal to men and not bound to the floor by society or the weight of the world because she simply doesn't care. The Provost wants justice for her people and never loses a case she wants to win.
The Laban system can be applies to both speech and movement as one usually influences the other anyway.
For example, a harsh and tough Eastenders character might use the effort of punch or if they're younger perhaps slash to emphasise their confident, strong and not to be messed with persona. This would be juxtaposed by say a princess or fairy that might embody the effort of float or glide depending on the mentality, age and current mood of the character.
Trying out each Laban effort was interesting and whilst doing some it was obvious what stereotypical characters could come out of some of the efforts. It was also difficult at times when the efforts weren't too dissimilar to one another with only one quality among the four changing.
Laban efforts really helped with my character development despite my character not being as extreme as another characters embodiments (e.g Barnadine or Pompey).
I would say that my version of the Provost most often takes up the embodiment of 'glide' because she is sustained in time, she has no need to rush because she is in charge and in control. Her weight is light because she is a woman that isn't fazed by what's going on around her. Her feet are firm on the floor but she has a weightless, graceful look to her. Spatially she is direct because she always knows where she is going and is never lost. She had places to be and people to boss around. Give her attitude and she'll give you professional and fashionable sass. And her flow is free because she has empowerment. She is equal to men and not bound to the floor by society or the weight of the world because she simply doesn't care. The Provost wants justice for her people and never loses a case she wants to win.
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| Taken from http://keywordsuggest.org/gallery/1281332.html |
Wednesday, 12 April 2017
Translating
By translating the script into modern english I was able to grasp a better understanding of the text. Sadly it wasn't as easy to source translations as Sparknotes didn't have any information of 'Measure For Measure' as the problem play is once of Shakespeare's less common plays compared to say Hamlet or Macbeth.
Because of this I had to go through each of my lines separately and then collectively to grasp a better understanding of the text which allowed me to understand my character better. At first I thought this was going to be an impossible task bet it was a lot easier that I thought it would be but putting that short amount of time to the side to go over translations really allowed me to understand the play in more depth.
Because the language is old there are a few words that are less commonly used in today's modern world such as the word 'gyves'. This is in one of the Provost's passages of speech and I quickly learnt that they were basically the equivalent of shackles.
Because of this I had to go through each of my lines separately and then collectively to grasp a better understanding of the text which allowed me to understand my character better. At first I thought this was going to be an impossible task bet it was a lot easier that I thought it would be but putting that short amount of time to the side to go over translations really allowed me to understand the play in more depth.
Because the language is old there are a few words that are less commonly used in today's modern world such as the word 'gyves'. This is in one of the Provost's passages of speech and I quickly learnt that they were basically the equivalent of shackles.
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| Image taken from: http://www.alamy.com/stock-photo/gyves.html |
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