18 - 8 - 14
1) After reading the quote by Goethe, it is highlighted that being committed to something is the key to success. When not committed to an activity or idea there is a higher chance of failure and disappointment. What I find most intriguing about this quote is especially the line, "Whatever you can do, or dream you can do, begin it." My reason for this is because it is a very empowering statement that tells the reader to believe that impossible is nothing that that no matter how distant and hard one's dream may be, it is achievable through hard work and dedication. This alone applies heavily to an art form like theatre because dreams and goals are constantly being created and needing to be achieved. These dreams may vary from performances, script writing, directing and many more - complex or not they can all be achieved when an individual is committed and driven to success.
2) In terms of theatre, performance, and/or production, I am slightly hesitant when it comes to applying my research and prior knowledge.
I find this to be quite challenging, especially if the performance/lesson topic is a rather large issue such as racism or LGBT rights, because the fear of having misinterpreted a key piece of information, or an event/action that occurred and performing it in front of an audience is rather embarrassing. As an actress, I recently discovered that I am constantly blocking and devising performances and scenes not only to clearly convey a possible message or theme, but to truly impress my audience. The way my audience reacts during, or at the end of my performance is something that I have always paid attention to and take very seriously. I strive to have my audience leave having enjoyed and understood the purpose of my performance. As a result of this, I sometimes become slightly 'close-minded' to ideas because I do not believe my audience will understand, say, the symbolism or they make think it is 'strange.' This has a great effect on my performance outcome and how I work with others sadly. Throughout the DP theatre course I hope to learn how to possibly overcome this and learn to become more open minded towards ideas created from my research as well as how to make my knowledge on the topic be conveyed in a more creative manner.
3) To keep things short and concise, this year I hope to create breath-taking performances with the current and new skills I will be learning! I'm really excited to get stuck into work, and start devising and exploring different theatre/production techniques that can further enhance and improve my overall acting skills - and help me in the future.
4) Ever since I started taking drama/theatre I have always been committed. I thoroughly enjoy being apart of performances and taking time out of my day(s) to watch various plays by other schools and performers. Even if no one from my year or class is performing, I love coming to watch other student's performances after school - and even helping out sometimes. I will literally do anything for theatre as I believe that it definitely plays a big role in my life and really helped shape who I am today. So far, I have taken time out after school to run my own drama CCA (in year 10), and co-ran yet another drama CCA (in year 11). Drama means everything to me and I hope to prove that from now until I not only graduate from DC, but university too!
5) Honestly, there is not a single thing I don't love about theatre. I adore performing and being on stage - I feel as though I was made for it! Although there may be one or two aspects of theatre that I have yet to learn to completely love such as physical theatre, being around people who inspire and provide me with excellent examples is fantastic. I would have to say, my absolute favourite thing about theatre is that feeling you get when your fellow actresses/actors and your self have worked extremely hard on a performance - and it all pays off. Even if you know your friends and family are in the audience, watching you, you can't help but feel the excitement and adrenaline. It is a truly indescribable feeling that I would not trade the world for.
6) As funny as it may sound, I don't really feel scared for anything this year in theatre class. I enjoy approaching challenges and succeeding - even if I needed some help along the way. Sure, there are times when I feel slightly uncomfortable doing something but I tend to just put it at the back of my mind because I know that doing the thing I dread at that moment in time will help me grow and develop as a performer and if anything, boost my confidence that I can do anything I set my mind to!
-------------------------------------------
3 - 9 - 14
BRECHTIAN THEATRE
-------------------------------------------
10 - 9 - 14
Approaches To Devising (ESF Workshop)
1. What theatre style and/or practitioner did you explore during your workshop?
This theatre workshop was ran by Sue and Chris (they came to DC) and we explored different methods of devising a performance piece.
2. What did you learn that you didn't know before about this particular style of theatre or practitioner?
Something that I learnt that I didn't know before was the freedom, and flexibility of the whole process. There are limited restrictions when it comes to devising, and all ideas were taken on board and developed - even if they were outright ridiculous. Apart from this, I also learnt a few good techniques to devise i.e the essence machine and creating a still 3D image. These techniques definitely helped, again, in realising the freedom that comes with devising.
3. What specific exercises did you find useful? Interesting? Why?
As mentioned earlier, the exercise that I four particularly useful was creating the sill 3D image. I found this useful because it was rather 'spontaneous', as none of us had any idea what the next person to enter the image(go on stage) would do, and how it would effect the pending outcome and balance of the story. This allowed us to accept and adapt to change on stage when it happened, and allowed us to explore the potential difference in dynamics of characters, objects and themes brought on stage - and bring them to 'life'.
4. What connections can you make between the style/practitioner ideas you learned today and other styles you have covered during your theatre journey so far?
Personally I do find this quite a hard question to answer given that I have not done to many lessons and activities solely based around devising. However, in previous drama classes I have done similar activities to the essence machine and I found, and still do, that it greatly helped open my mind to potential themes and how to make the performance more immersive.
Developing Physical Theatre (ESF Workshop)
1. What theatre style and/or practitioner did you explore during your workshop?
In this theatre workshop we explored physical theatre.
2. What did you learn that you didn't know before about this particular style of theatre or practitioner?
I've done quite a lot to physical theatre work in my drama classes, so there was not really anything new that I learnt from this particular workshop. However, it was interesting to do some work around movement - and choreograph a performance routine using at least two of the specific movements listed. This gave me a chance to see how other people in the workshop moved, and gave me some ideas on how to incorporate it into my performance(s).
3. What specific exercises did you find useful? Interesting? Why?
Again, the exercise where we had to come up with a routine performance.
4. What connections can you make between the style/practitioner ideas you learned today and other styles you have covered during your theatre journey so far?
A lot of the tips and knowledge that we were being taught throughout this workshop, I had previously been taught in various other classes and lessons that I have been apart of involving physical theatre - so I guess one of the connections that I can make with this workshop would have to be with all physical theatre workshops that I have been in.
Laban (ESF Workshop)
1. What theatre style and/or practitioner did you explore during your workshop?
In this workshop, the practitioner and theatre style that we explored was Laban.
2. What did you learn that you didn't know before about this particular style of theatre or practitioner?
Something that I didn't know before this workshop was definitely about the cube(see image). This creation is very interesting as I pretty much has different emotions and reactions listed within, and their opposites.
3. What specific exercises did you find useful? Interesting? Why?
The one exercise that I found useful was the end performance that we had to put on, only using our facial expressions and gestures - no words. We each had to performance a specific scene from the story 'little red riding hood' and within this, establish characters, status, emotion and the overall story line clearly. This was definitely a challenge, however it did push all of us to explore more physical movements.
4. What connections can you make between the style/practitioner ideas you learned today and other styles you have covered during your theatre journey so far?
Personally, I do feel that there is a huge connection between Laban styled theatre and physical theatre. This is because of the requirement of physically movements, and how they play a big part in conveying the storyline and setting the atmosphere.
Commedia (ESF Workshop)
1. What theatre style and/or practitioner did you explore during your workshop?
In this workshop, we explored Commedia.
2. What did you learn that you didn't know before about this particular style of theatre or practitioner?
The main thing I learnt was the background information on the characters within Commedia, and their relationships and how actors embody the characters.
3. What specific exercises did you find useful? Interesting? Why?
What I found really interesting was how each character had been 'based' off of an animal, and how this helped actors to embody their characters. I also found it really interesting that Commedia is a very over exaggerated theatre style, and how the more over the top it is - the better. I don't exactly have a justification for this, I just thought it was interesting!
4. What connections can you make between the style/practitioner ideas you learned today and other styles you have covered during your theatre journey so far?
Over exaggeration and physical theatre.
-------------------------------------------
12 - 9 - 14
Devising Workshop with Sue & Chris
The photograph used in the final performance was really helpful because it provided a theme, characters, and potential time period. It was a really good stimulus that helped shape the performance, and helped give us ideas to create our performance.
Giving someone a bamboo stick, and telling them to be in a position and allow viewers to interpret what story they were telling. Every time we strayed away, Chris and Sue would tell us to bare in mind that we needed to look carefully at the actors position, and only give potential characteristics and persona ideas only if there was supporting details and/or evidence. As we kept getting carried away, and adding silly things that made the situation more extreme it was very useful because we had to really focus on details and use them to create a story - and it had to make sense.
The ensemble activities that we did during the workshop really helped us learn to work together, instead of being individuals constantly. Although we may not like to admit it, we all find it frustrating to work with each other because people are constantly turning down others ideas, and it just makes the whole division process more difficult. For example, in the coloured ball game that we played we really had to focus and pay attention to each other. We had to work together as a unit, there was no way we could do it alone. At the beginning, we did mess up quite badly as we all kept giggling and getting confused however in the end we were all so focused on each other, it all worked out. In addition, we played a counting game where we had to close our eyes and count as high as we could. Given that at the start of the workshop we were struggling to work with each other, we managed to get to a massive 57 during that game. This proved that we were working as a unit and were so in sync with each other that we managed to progress as far as we did in that game.
-------------------------------------------
16 - 9 - 14
POOR THEATRE // GROTOWSKI
1. What stuck with you? What are you going to remember about this theatre style?
Something that definitely stuck with me after doing this practitioner was the challenge that my group and I encountered when devising our final performance. We were given a stimulus, which was the quote "time is money", and we had to base our performance around this. We were allowed minimal stage set up and props, and if possible - none at all. Originally, our idea had been to use three rostrums and convey three different environments/settings; a factory work-line, a CEO business meeting, and a housewife NHW(Neighborhood Watch) meeting. Now, although each of these settings are odd and different from each other, the connection between all of them was how time was off the essence, and that money was being wasted. I have chosen not to go in depth with the storyline, but in the end we ended up scrapping the idea because it was difficult to convey our message to the audience - just as it is fairly challenging to explain it! We ended up doing an interactive performance, with no props, aiming to convey a bank robbery. I personally feel that this was more suitable given that our quote was "Time is money", and that in a BANK robbery you're aiming to get as much money as possible, and you're on a strict timer - before the police or authorities show up. So all in all, something that I'm definitely going to take away from this was how challenging it can be to devise a performance when given no stage set up or props, as well as having to break the 4th wall and interact with audience members.
2. List THREE activities we did in class. How did they connect to this theatre style?
One of the first activities that we did in class was jog, sprint and walk around the theatre space so as to drain energy and make ourselves more 'tired.' This connected to this theatre style because Grotowski wanted his actors to be somewhat drained of energy, and exhausted given that he believed that this is when raw and real emotions could be expressed on stage. The second activity that we did in class was imagining that the floor and wall surface were made of different materials, or had other textures/consistencies. Each class member had to walk across the room one by one after being told what the floor was 'made of' i.e; ice, coal, slime..etc and react to it. This connected to the theatre style because Grotowski also wanted his actors to react to their surroundings, settings...etc and really root themselves into the performance, exaggerating and making the whole experience more realistic. Similarly, we had to walk across the room imagining that we were walking down a narrow corridor, with our hands feeling the (imaginary) wall in front of us whilst being told the multiple textures each wall had. Lastly, as mentioned earlier we did a final performance using the quote "time is money" as a stimulus. This activity connected to this particular theater style as in incorporated all elements to poor theatre that we had learnt. The lack of props and stage set up helped the audience key their focus mainly on the actors and what was happening on stage, rather than the stage set up itself - which was what Grotowski wanted. Exaggerated movements were slightly used, however direct contact was made with the audience physically and verbally - especially when we commanded audience members to lay on the ground and obey what we said.
3. What connections can you make between this theatre style and previous styles you have studied?
A connection that can be made between this style of theatre and a previous style of theater would be the lack of props and simple stage setup, as it is very similar to Brechtian Theatre. This meant that there was more of a focus on the actors, and the message they were conveying as a opposed to the staging environment. Poor theatre also has a close connection to physical theatre, as each actor exaggerates their movements in order to set the scene's atmosphere and setting.
4. What are the main differences between this theatre style and previous styles you have studied?
When comparing poor theatre to a theatre style such as the theatre of cruelty, its simplicity is brought to light. The lack of props and theatrical elements becomes obvious in contrast to the overload of sound and immersive elements brought forward in a theatre of cruelty based performance. This does make poor theatre slightly challenging, as you have to really rely on your acting skills and ability to convey a message and you have minimal, if not no props to assist you.
-------------------------------------------
22 - 9 - 14
THEATRE OF THE CRUELTY // ARTAUD
1. What stuck with you? What are you going to remember about this theatre style?
A key thing that has stuck with me whilst exploring theatre of cruelty definitely be the use of immersive theatre, and theatrical elements to the extreme. Artaud's use of lighting, sound and various other elements to put audience members into a harsh environment is phenomenal. In addition, making each performance storyline 'dark' and 'nightmarish' is really, really up my alley and it give us as actors a lot of freedom to experiment with theatrical elements so as to transport our audience members into their worst nightmare(s). Similarly to Grotowski and Brecht, theatre of cruelty also breaks the 4th wall and demands audience interaction. This is also remarkable because it really pulls the audience into the performance, and almost makes them accept that they are stuck in this moment along with the actors - and theres no escaping.
2. List THREE activities we did in class. How did they connect to this theatre style?
Although I was not apart of this activity as Artaud was the practitioner that I had to present, one of the activities the class did was a 'sensory' experiment. During this activity, each class member was brought into a room blindfolded where loud, irritating music was playing and they'd have to first touch, then smell at the same time - immersing themselves into the environment. This particular activity connected to this theatre style as Artaud sought to place his audience in extreme and harsh conditions so as to evoke an emotional response. The second activity that was done was a sound activity, where we had to get into partners and produce three sounds that correspond to the given circumstance or object/animal. Later, we had to incorporate these sounds into a performance using lighting (and only the noises created by us). This connected to theatre of cruelty because the shock value that came with each of the sounds made the audience feel 'awkward' and immersed into the performance. Lastly, we did a final performance using a script given to us a stimulus piece. Our setting was in a mental asylum, where we were all patients moving around the asylum's common room. This was fantastic because it gave us the chance to use all Artaud's theatre techniques, and incorporate them into our performance piece. The key thing, which I am most pleased with, was the idea that I had initially brought forward to the group suggesting that we have the audience seated separately around the 'common room', whilst we came up and interacted with them. This would make the audience feel apart of what was happening on stage, as well as make them feel that there was no escape.
3. What connections can you make between this theatre style and previous styles you have studied?
Much like poor theatre, theatre of cruelty aims to establish a connection with the audience - breaking the 4th wall. Bringing the audience into the performance and environment is something the two theatre styles share and rely on when it comes to conveying the performance's message or artistic intention(s).
4. What are the main differences between this theatre style and previous styles you have studied?
The theatre of cruelty is drastically different from theatre styles such as Brecht. This is due to its 'overload' of harsh and extreme theatrical elements, in contrast to Brechtian theatre's minimal stage set up an props.
-------------------------------------------
1) After reading the quote by Goethe, it is highlighted that being committed to something is the key to success. When not committed to an activity or idea there is a higher chance of failure and disappointment. What I find most intriguing about this quote is especially the line, "Whatever you can do, or dream you can do, begin it." My reason for this is because it is a very empowering statement that tells the reader to believe that impossible is nothing that that no matter how distant and hard one's dream may be, it is achievable through hard work and dedication. This alone applies heavily to an art form like theatre because dreams and goals are constantly being created and needing to be achieved. These dreams may vary from performances, script writing, directing and many more - complex or not they can all be achieved when an individual is committed and driven to success.
2) In terms of theatre, performance, and/or production, I am slightly hesitant when it comes to applying my research and prior knowledge.
I find this to be quite challenging, especially if the performance/lesson topic is a rather large issue such as racism or LGBT rights, because the fear of having misinterpreted a key piece of information, or an event/action that occurred and performing it in front of an audience is rather embarrassing. As an actress, I recently discovered that I am constantly blocking and devising performances and scenes not only to clearly convey a possible message or theme, but to truly impress my audience. The way my audience reacts during, or at the end of my performance is something that I have always paid attention to and take very seriously. I strive to have my audience leave having enjoyed and understood the purpose of my performance. As a result of this, I sometimes become slightly 'close-minded' to ideas because I do not believe my audience will understand, say, the symbolism or they make think it is 'strange.' This has a great effect on my performance outcome and how I work with others sadly. Throughout the DP theatre course I hope to learn how to possibly overcome this and learn to become more open minded towards ideas created from my research as well as how to make my knowledge on the topic be conveyed in a more creative manner.
3) To keep things short and concise, this year I hope to create breath-taking performances with the current and new skills I will be learning! I'm really excited to get stuck into work, and start devising and exploring different theatre/production techniques that can further enhance and improve my overall acting skills - and help me in the future.
4) Ever since I started taking drama/theatre I have always been committed. I thoroughly enjoy being apart of performances and taking time out of my day(s) to watch various plays by other schools and performers. Even if no one from my year or class is performing, I love coming to watch other student's performances after school - and even helping out sometimes. I will literally do anything for theatre as I believe that it definitely plays a big role in my life and really helped shape who I am today. So far, I have taken time out after school to run my own drama CCA (in year 10), and co-ran yet another drama CCA (in year 11). Drama means everything to me and I hope to prove that from now until I not only graduate from DC, but university too!
5) Honestly, there is not a single thing I don't love about theatre. I adore performing and being on stage - I feel as though I was made for it! Although there may be one or two aspects of theatre that I have yet to learn to completely love such as physical theatre, being around people who inspire and provide me with excellent examples is fantastic. I would have to say, my absolute favourite thing about theatre is that feeling you get when your fellow actresses/actors and your self have worked extremely hard on a performance - and it all pays off. Even if you know your friends and family are in the audience, watching you, you can't help but feel the excitement and adrenaline. It is a truly indescribable feeling that I would not trade the world for.
6) As funny as it may sound, I don't really feel scared for anything this year in theatre class. I enjoy approaching challenges and succeeding - even if I needed some help along the way. Sure, there are times when I feel slightly uncomfortable doing something but I tend to just put it at the back of my mind because I know that doing the thing I dread at that moment in time will help me grow and develop as a performer and if anything, boost my confidence that I can do anything I set my mind to!
-------------------------------------------
3 - 9 - 14
BRECHTIAN THEATRE
- What stuck with you? what are you going to remember about this theatre style?
- List THREE activities we did in class. how did this connect to this theatre style?
- Describe the difference between naturalistic theatre and Epic theatre.
- Discuss in your groups how you could have created more of a traditional Epic theatre piece.
- More placards
- Using an live music i.e a drum
- House lights remain on
- Incorporating and using the theme of the final performance more
- Incorporating and utilising gestus
- More symbolism
- Reduce feelings/emotion
-------------------------------------------
10 - 9 - 14
Approaches To Devising (ESF Workshop)
1. What theatre style and/or practitioner did you explore during your workshop?
This theatre workshop was ran by Sue and Chris (they came to DC) and we explored different methods of devising a performance piece.
2. What did you learn that you didn't know before about this particular style of theatre or practitioner?
Something that I learnt that I didn't know before was the freedom, and flexibility of the whole process. There are limited restrictions when it comes to devising, and all ideas were taken on board and developed - even if they were outright ridiculous. Apart from this, I also learnt a few good techniques to devise i.e the essence machine and creating a still 3D image. These techniques definitely helped, again, in realising the freedom that comes with devising.
3. What specific exercises did you find useful? Interesting? Why?
As mentioned earlier, the exercise that I four particularly useful was creating the sill 3D image. I found this useful because it was rather 'spontaneous', as none of us had any idea what the next person to enter the image(go on stage) would do, and how it would effect the pending outcome and balance of the story. This allowed us to accept and adapt to change on stage when it happened, and allowed us to explore the potential difference in dynamics of characters, objects and themes brought on stage - and bring them to 'life'.
4. What connections can you make between the style/practitioner ideas you learned today and other styles you have covered during your theatre journey so far?
Personally I do find this quite a hard question to answer given that I have not done to many lessons and activities solely based around devising. However, in previous drama classes I have done similar activities to the essence machine and I found, and still do, that it greatly helped open my mind to potential themes and how to make the performance more immersive.
Developing Physical Theatre (ESF Workshop)
1. What theatre style and/or practitioner did you explore during your workshop?
In this theatre workshop we explored physical theatre.
2. What did you learn that you didn't know before about this particular style of theatre or practitioner?
I've done quite a lot to physical theatre work in my drama classes, so there was not really anything new that I learnt from this particular workshop. However, it was interesting to do some work around movement - and choreograph a performance routine using at least two of the specific movements listed. This gave me a chance to see how other people in the workshop moved, and gave me some ideas on how to incorporate it into my performance(s).
3. What specific exercises did you find useful? Interesting? Why?
Again, the exercise where we had to come up with a routine performance.
4. What connections can you make between the style/practitioner ideas you learned today and other styles you have covered during your theatre journey so far?
A lot of the tips and knowledge that we were being taught throughout this workshop, I had previously been taught in various other classes and lessons that I have been apart of involving physical theatre - so I guess one of the connections that I can make with this workshop would have to be with all physical theatre workshops that I have been in.
Laban (ESF Workshop)
1. What theatre style and/or practitioner did you explore during your workshop?
In this workshop, the practitioner and theatre style that we explored was Laban.
2. What did you learn that you didn't know before about this particular style of theatre or practitioner?
Something that I didn't know before this workshop was definitely about the cube(see image). This creation is very interesting as I pretty much has different emotions and reactions listed within, and their opposites.
3. What specific exercises did you find useful? Interesting? Why?
The one exercise that I found useful was the end performance that we had to put on, only using our facial expressions and gestures - no words. We each had to performance a specific scene from the story 'little red riding hood' and within this, establish characters, status, emotion and the overall story line clearly. This was definitely a challenge, however it did push all of us to explore more physical movements.
4. What connections can you make between the style/practitioner ideas you learned today and other styles you have covered during your theatre journey so far?
Personally, I do feel that there is a huge connection between Laban styled theatre and physical theatre. This is because of the requirement of physically movements, and how they play a big part in conveying the storyline and setting the atmosphere.
Commedia (ESF Workshop)
1. What theatre style and/or practitioner did you explore during your workshop?
In this workshop, we explored Commedia.
2. What did you learn that you didn't know before about this particular style of theatre or practitioner?
The main thing I learnt was the background information on the characters within Commedia, and their relationships and how actors embody the characters.
3. What specific exercises did you find useful? Interesting? Why?
What I found really interesting was how each character had been 'based' off of an animal, and how this helped actors to embody their characters. I also found it really interesting that Commedia is a very over exaggerated theatre style, and how the more over the top it is - the better. I don't exactly have a justification for this, I just thought it was interesting!
4. What connections can you make between the style/practitioner ideas you learned today and other styles you have covered during your theatre journey so far?
Over exaggeration and physical theatre.
-------------------------------------------
12 - 9 - 14
Devising Workshop with Sue & Chris
The photograph used in the final performance was really helpful because it provided a theme, characters, and potential time period. It was a really good stimulus that helped shape the performance, and helped give us ideas to create our performance.
Giving someone a bamboo stick, and telling them to be in a position and allow viewers to interpret what story they were telling. Every time we strayed away, Chris and Sue would tell us to bare in mind that we needed to look carefully at the actors position, and only give potential characteristics and persona ideas only if there was supporting details and/or evidence. As we kept getting carried away, and adding silly things that made the situation more extreme it was very useful because we had to really focus on details and use them to create a story - and it had to make sense.
The ensemble activities that we did during the workshop really helped us learn to work together, instead of being individuals constantly. Although we may not like to admit it, we all find it frustrating to work with each other because people are constantly turning down others ideas, and it just makes the whole division process more difficult. For example, in the coloured ball game that we played we really had to focus and pay attention to each other. We had to work together as a unit, there was no way we could do it alone. At the beginning, we did mess up quite badly as we all kept giggling and getting confused however in the end we were all so focused on each other, it all worked out. In addition, we played a counting game where we had to close our eyes and count as high as we could. Given that at the start of the workshop we were struggling to work with each other, we managed to get to a massive 57 during that game. This proved that we were working as a unit and were so in sync with each other that we managed to progress as far as we did in that game.
-------------------------------------------
16 - 9 - 14
POOR THEATRE // GROTOWSKI
1. What stuck with you? What are you going to remember about this theatre style?
Something that definitely stuck with me after doing this practitioner was the challenge that my group and I encountered when devising our final performance. We were given a stimulus, which was the quote "time is money", and we had to base our performance around this. We were allowed minimal stage set up and props, and if possible - none at all. Originally, our idea had been to use three rostrums and convey three different environments/settings; a factory work-line, a CEO business meeting, and a housewife NHW(Neighborhood Watch) meeting. Now, although each of these settings are odd and different from each other, the connection between all of them was how time was off the essence, and that money was being wasted. I have chosen not to go in depth with the storyline, but in the end we ended up scrapping the idea because it was difficult to convey our message to the audience - just as it is fairly challenging to explain it! We ended up doing an interactive performance, with no props, aiming to convey a bank robbery. I personally feel that this was more suitable given that our quote was "Time is money", and that in a BANK robbery you're aiming to get as much money as possible, and you're on a strict timer - before the police or authorities show up. So all in all, something that I'm definitely going to take away from this was how challenging it can be to devise a performance when given no stage set up or props, as well as having to break the 4th wall and interact with audience members.
2. List THREE activities we did in class. How did they connect to this theatre style?
One of the first activities that we did in class was jog, sprint and walk around the theatre space so as to drain energy and make ourselves more 'tired.' This connected to this theatre style because Grotowski wanted his actors to be somewhat drained of energy, and exhausted given that he believed that this is when raw and real emotions could be expressed on stage. The second activity that we did in class was imagining that the floor and wall surface were made of different materials, or had other textures/consistencies. Each class member had to walk across the room one by one after being told what the floor was 'made of' i.e; ice, coal, slime..etc and react to it. This connected to the theatre style because Grotowski also wanted his actors to react to their surroundings, settings...etc and really root themselves into the performance, exaggerating and making the whole experience more realistic. Similarly, we had to walk across the room imagining that we were walking down a narrow corridor, with our hands feeling the (imaginary) wall in front of us whilst being told the multiple textures each wall had. Lastly, as mentioned earlier we did a final performance using the quote "time is money" as a stimulus. This activity connected to this particular theater style as in incorporated all elements to poor theatre that we had learnt. The lack of props and stage set up helped the audience key their focus mainly on the actors and what was happening on stage, rather than the stage set up itself - which was what Grotowski wanted. Exaggerated movements were slightly used, however direct contact was made with the audience physically and verbally - especially when we commanded audience members to lay on the ground and obey what we said.
3. What connections can you make between this theatre style and previous styles you have studied?
A connection that can be made between this style of theatre and a previous style of theater would be the lack of props and simple stage setup, as it is very similar to Brechtian Theatre. This meant that there was more of a focus on the actors, and the message they were conveying as a opposed to the staging environment. Poor theatre also has a close connection to physical theatre, as each actor exaggerates their movements in order to set the scene's atmosphere and setting.
4. What are the main differences between this theatre style and previous styles you have studied?
When comparing poor theatre to a theatre style such as the theatre of cruelty, its simplicity is brought to light. The lack of props and theatrical elements becomes obvious in contrast to the overload of sound and immersive elements brought forward in a theatre of cruelty based performance. This does make poor theatre slightly challenging, as you have to really rely on your acting skills and ability to convey a message and you have minimal, if not no props to assist you.
-------------------------------------------
22 - 9 - 14
THEATRE OF THE CRUELTY // ARTAUD
1. What stuck with you? What are you going to remember about this theatre style?
A key thing that has stuck with me whilst exploring theatre of cruelty definitely be the use of immersive theatre, and theatrical elements to the extreme. Artaud's use of lighting, sound and various other elements to put audience members into a harsh environment is phenomenal. In addition, making each performance storyline 'dark' and 'nightmarish' is really, really up my alley and it give us as actors a lot of freedom to experiment with theatrical elements so as to transport our audience members into their worst nightmare(s). Similarly to Grotowski and Brecht, theatre of cruelty also breaks the 4th wall and demands audience interaction. This is also remarkable because it really pulls the audience into the performance, and almost makes them accept that they are stuck in this moment along with the actors - and theres no escaping.
2. List THREE activities we did in class. How did they connect to this theatre style?
Although I was not apart of this activity as Artaud was the practitioner that I had to present, one of the activities the class did was a 'sensory' experiment. During this activity, each class member was brought into a room blindfolded where loud, irritating music was playing and they'd have to first touch, then smell at the same time - immersing themselves into the environment. This particular activity connected to this theatre style as Artaud sought to place his audience in extreme and harsh conditions so as to evoke an emotional response. The second activity that was done was a sound activity, where we had to get into partners and produce three sounds that correspond to the given circumstance or object/animal. Later, we had to incorporate these sounds into a performance using lighting (and only the noises created by us). This connected to theatre of cruelty because the shock value that came with each of the sounds made the audience feel 'awkward' and immersed into the performance. Lastly, we did a final performance using a script given to us a stimulus piece. Our setting was in a mental asylum, where we were all patients moving around the asylum's common room. This was fantastic because it gave us the chance to use all Artaud's theatre techniques, and incorporate them into our performance piece. The key thing, which I am most pleased with, was the idea that I had initially brought forward to the group suggesting that we have the audience seated separately around the 'common room', whilst we came up and interacted with them. This would make the audience feel apart of what was happening on stage, as well as make them feel that there was no escape.
3. What connections can you make between this theatre style and previous styles you have studied?
Much like poor theatre, theatre of cruelty aims to establish a connection with the audience - breaking the 4th wall. Bringing the audience into the performance and environment is something the two theatre styles share and rely on when it comes to conveying the performance's message or artistic intention(s).
4. What are the main differences between this theatre style and previous styles you have studied?
The theatre of cruelty is drastically different from theatre styles such as Brecht. This is due to its 'overload' of harsh and extreme theatrical elements, in contrast to Brechtian theatre's minimal stage set up an props.
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4 - 12 - 14
THE GLASS MENAGERIE
Thomas Lanier Williams, more commonly known as Tennessee Williams was born in Columbus, Mississippi on March 26th, 1911. The playwright was the second of Cornelius and Edwina Williams' three children, and was predominantly brought up by his mother. This was because Williams had a 'complicated' relationship with his father, a travelling work-consumed salesman who saw his work as more important than parenting. Williams father was a outgoing, loud and hard-drinking man, and at times reached vulgar. In contrast, his mother was relatively quite and over protective and displayed a constant 'over attachment' to her three children. Growing up, Tennessee was a fairly delicate child who suffered from several (serious) childhood diseases - this affected his schooling, and kept him from attending a normal school. Rather than attending school, Tennessee was constantly reading in his Grandfather's library. When asked, Williams described his life growing up in Mississippi as peaceful, happy and pleasant. However, when the family moved to St. Louis, Missouri (when Tennessee was about aged twelve) things changed for Tennessee; his untroubled and carefree nature was rid of in his new, urban home and an outcome of this was he started becoming more 'introverted' and spent more time writing.
One of Williams' greatest achievements and play that received incredible amounts of praise was "The Glass Menagerie", published in 1945. When analysing the play, it is evident that the characters reflect the personas of both Williams' parents, his older sister, Rose, and himself. This can be established as the father figure in the play has abandoned the family due to his desire to travel. Similarly, Williams' father was absent at times due to the fact that he was a workaholic and constantly travelled as a result(mainly whilst living in Mississippi). The similarities between the character Tom Wingfield and Williams is unreal. After Williams finished high school, he attended the University of Missouri for three years until he failed ROTC. Whilst studying at the school, Williams had begun to write more and found that alcohol was a cure for his extreme shyness. This would later come to haunt him, and essentially cost his life. After Williams third year, his father got him a job in the shoe factory where he worked for two years - he classified this as the most miserable years of his life. Williams would work all day in the factory, then all night writing short stories, poetry and plays. After repeating this routine for two years, he had a nervous breakdown and went to recuperate with his Grandfather in Memphis, Tennessee. Going back, it is clear that Williams experiences and years of irritation are reflected in Tom Wingfield - and Tennessee even gave the character his own first name, Tom.
During the time The Glass Menagerie was written, the second world war had just ended and it was the beginning of a new era not just for America but the world. Given that thousands of young men had spent years away from their wives and lovers because they were away fighting in the war, as a result of this marriage rates drastically increased and there was a massive 'baby-boom' that lasted between the years 1946 to 1964. The meant larger families and more people on the streets. The post war era was considered to be a socially conservative time; gender roles for men and women were becoming more traditional and clearly defined. Post-world war II, women who had worked in factories returned to the home and reverted to a more domestic living. Through all this, the feminism characteristic of the 1920's to the early 1940's was not as evident throughout the 1950's.
- Battle of Britain
- Franklin D. Roosevelt was elected to an unprecedented 3rd term as US President
1941 -Japanese attack on Pear Harbour
- M&M's were created
- Mount Rushmore was finished
1942 - Beginning of Manhattan projects
- T-shirts were introduced
- Anne Frank goes into hiding
1943 - Italy joins the Allies
1944 - Hitler escapes assassination attempt
- D-day
1945 - Hitler commits suicide
- First atomic bomb tested
- FDR passed away
- United Nations was founded
- United States drops atomic bombs on Hiroshima and Nagasaki
- Plane crashed into the Empire State building
- The Glass Menagerie was written
22 - 1 - 15
The 9 Commandments
Who are you? Lisa Martin, aged 23. She lives alone in a studio apartment in New York, America. Her apartment is the covered in art supplies and has random decorative items around it – some created by her. Her go to outfit choice everyday are jeans and a plain coloured shirt – which tends to have paint stains on it! Lisa often chooses to isolate herself as she is very focused and given to her artwork.
Where are you and when are you? New York, at a park in present day. It is a hot day and the sun is shining down and casting a reflection onto the lake in the middle of the park. There are birds chirping, and flying above. Children are playing and screaming in the park to the left of Lisa, who is seated on a park bench opposite the lake. It is Saturday late afternoon and couples are walking down the path hand in hand in front of her. The sun is starting to set causing the sky to go an organey colour, making the white clouds in the sky stand out.
What do you want? To be inspired by the nature, people and environment surrounding her to produce an artwork.
Why do you want it? To produce her best piece of artwork, which she hopes will be accepted and showcased in the art gallery down the road. She has always dreamed of doing this, and she’s finally been given the chance.
How will you get it? By absorbing the environment around her, and jotting down notes, taking photographs and doing quick sketches Lisa will compile this and use it as inspiration to create her new artwork.
What will happen if you don’t get it? Lisa is a very determined person, and if she doesn’t succeed the first time she will try again and again until she does. She will see it as a learning curve, and try to improve her works by making them more abstract and using different materials.
What will happen if you don’t get it now? She would be heartbroken and hurt that her dreams have been crushed, but only momentarily. She will then work and try again until she produces an art piece that will be accepted into the gallery.
What is in your way? The competition she faces among other artist trying to get a spot at the art gallery, as well as the art critics and gallery owner(s).
What must you overcome? Lisa must be able to accept the criticism and potential rejection she may face when it comes to ‘submitting’ her artwork. She must learn to turn it around and channel positive energy and attitudes towards becoming better at what she loves.
28 - 1 - 15
VISUALISATION & IMAGINATION REFLECTION
What exercises have you engaged in, inspired by Stanislavski's System to explore an actors use of their imagination?
When first exploring this style of theatre, we engaged in a relaxation activity where we had to lay down on the floor with our eyes closed, in the dark while listening to soothing music and instructions on what part of our bodies to 'relax'. On the first occasion we did this activity, we then slowly opened our eyes and moved into a circle where Mrs. Moran pretended to be cradling a baby blue bird. This happened so suddenly, and almost randomly so we were all very confused as to what was happening - yet we went along with it, and continued the activity. We all had to imagine the bird as we passed it around the circle, and talk about it i.e it was injured and Mrs. Moran didn't know what to do with the bird. After the 'bird' went a full rotation around the circle, Mrs. Moran flipped from a more sympathetic and sad mood to an angry and ticked off mood - which led her to throwing the bird onto the floor, stomping on it and walking away angrily. All this came as a shock to all of us, but we simply continued imagining the now squashed bird on the floor and how sad and depressing it was to see a now dead bird before us. On the second occasion we did the relaxation part of the activity, we were then told to visualise a character in our heads and imagine who they were, what their hobbies were, what they're doing and other things along the lines of creating our own given circumstances. After this, we then had to get up slowly and move around the space in the Black Box as if we were the characters. We were allowed to slightly interact with others and objects around the room too. Once completed, we then had to sit and write out responses to the 10(or in our case, 9) commandments from the view point of our characters we'd just created. The following lesson we took these 9 commandments and were randomly partnered up and told to create a realistic performance on how our two characters met, using the commandments as our foundation.
What was your response to these exercises? If you found them ineffective, explain why?
Personally, I adore realistic theatre as I feel I'm much better at it as opposed to abstract and more physical theatre. So doing these exercises were fantastic and I really got in the 'zone' with them. I found the relaxation exercises we started each lesson with to be extremely helpful as I personally find it a bit difficult to come up with a character and their back story on the spot. Well, I know I can if need be but it wouldn't be in that much depth as it could be had I been given more time to think about it. With the relaxation activities, I was able to really visualise my character and (attempt) to fully immerse all my senses into what I believed the character would be feeling at the given time and place she was in. I was able to fully picture her back story, and had time to alter it if I thought otherwise. Using the 10 commandments to further create my character and help her to become more 3D was also really useful because it helped me to connect and embody her, and really think through what her goals were in life. This ultimately made devising a performance and connecting my character with my partner's and creating a realistic performance that was believable.
What was effective about your performance? Did you achieve a realistic scene with realistic characters?
I think what was most effective about my performance was that my partner, Chantel, and I were able to establish key point that could potentially tie our characters together. Fortunately for us, both our characters were very realistic which made it so much easier for us to come up with a situation where we would meet. After bouncing off ideas off of each other, we were able to come up with a realistic situation where our characters would meet. Chantel's character was an old woman living in Hong Kong, and since my character was an artist and looking for inspiration for a new art exhibit, we thought it would be cool if she flew from New York to Hong Kong and took photographs for her art exhibit. This gave us the idea that we would meet in a market, where the old woman would be shopping for food and my character would be acting all 'touristy' and taking photographs of objects and people - the old woman being one of them. I also think that because we included almost all the 10 commandments within our dialogue, it made it easier for our characters to connect as well as the audience to believe that we were in this situation, current time and place.
If we had done this task with not tasks before, would it have been as powerful or realistic?
Honestly, I do think that my performance would have been as realistic and as 'powerful' because the way that I tend to think is more along the lines of realism, and I like to base my characters and scenes off of that. Had we not been given as much time to come up with and visualise our characters may have potentially changed how in depth I had gone with my character and her background story - but I feel that I would have gotten there eventually. Also, had we not done the 10 commandments I also feel that I wouldn't have had a complete understanding of what my characters goals and past were like making it a tiny bit more challenging to connect with her.
4 - 12 - 14
THE GLASS MENAGERIE
- The Writer and his/her life.
Thomas Lanier Williams, more commonly known as Tennessee Williams was born in Columbus, Mississippi on March 26th, 1911. The playwright was the second of Cornelius and Edwina Williams' three children, and was predominantly brought up by his mother. This was because Williams had a 'complicated' relationship with his father, a travelling work-consumed salesman who saw his work as more important than parenting. Williams father was a outgoing, loud and hard-drinking man, and at times reached vulgar. In contrast, his mother was relatively quite and over protective and displayed a constant 'over attachment' to her three children. Growing up, Tennessee was a fairly delicate child who suffered from several (serious) childhood diseases - this affected his schooling, and kept him from attending a normal school. Rather than attending school, Tennessee was constantly reading in his Grandfather's library. When asked, Williams described his life growing up in Mississippi as peaceful, happy and pleasant. However, when the family moved to St. Louis, Missouri (when Tennessee was about aged twelve) things changed for Tennessee; his untroubled and carefree nature was rid of in his new, urban home and an outcome of this was he started becoming more 'introverted' and spent more time writing.
One of Williams' greatest achievements and play that received incredible amounts of praise was "The Glass Menagerie", published in 1945. When analysing the play, it is evident that the characters reflect the personas of both Williams' parents, his older sister, Rose, and himself. This can be established as the father figure in the play has abandoned the family due to his desire to travel. Similarly, Williams' father was absent at times due to the fact that he was a workaholic and constantly travelled as a result(mainly whilst living in Mississippi). The similarities between the character Tom Wingfield and Williams is unreal. After Williams finished high school, he attended the University of Missouri for three years until he failed ROTC. Whilst studying at the school, Williams had begun to write more and found that alcohol was a cure for his extreme shyness. This would later come to haunt him, and essentially cost his life. After Williams third year, his father got him a job in the shoe factory where he worked for two years - he classified this as the most miserable years of his life. Williams would work all day in the factory, then all night writing short stories, poetry and plays. After repeating this routine for two years, he had a nervous breakdown and went to recuperate with his Grandfather in Memphis, Tennessee. Going back, it is clear that Williams experiences and years of irritation are reflected in Tom Wingfield - and Tennessee even gave the character his own first name, Tom.
- The Society of the time the play was written.
During the time The Glass Menagerie was written, the second world war had just ended and it was the beginning of a new era not just for America but the world. Given that thousands of young men had spent years away from their wives and lovers because they were away fighting in the war, as a result of this marriage rates drastically increased and there was a massive 'baby-boom' that lasted between the years 1946 to 1964. The meant larger families and more people on the streets. The post war era was considered to be a socially conservative time; gender roles for men and women were becoming more traditional and clearly defined. Post-world war II, women who had worked in factories returned to the home and reverted to a more domestic living. Through all this, the feminism characteristic of the 1920's to the early 1940's was not as evident throughout the 1950's.
- A historical timeline outlining the main events of the period during the time when the play was written.
- Battle of Britain
- Franklin D. Roosevelt was elected to an unprecedented 3rd term as US President
1941 -Japanese attack on Pear Harbour
- M&M's were created
- Mount Rushmore was finished
1942 - Beginning of Manhattan projects
- T-shirts were introduced
- Anne Frank goes into hiding
1943 - Italy joins the Allies
1944 - Hitler escapes assassination attempt
- D-day
1945 - Hitler commits suicide
- First atomic bomb tested
- FDR passed away
- United Nations was founded
- United States drops atomic bombs on Hiroshima and Nagasaki
- Plane crashed into the Empire State building
- The Glass Menagerie was written
- The play's genre
22 - 1 - 15
The 9 Commandments
Who are you? Lisa Martin, aged 23. She lives alone in a studio apartment in New York, America. Her apartment is the covered in art supplies and has random decorative items around it – some created by her. Her go to outfit choice everyday are jeans and a plain coloured shirt – which tends to have paint stains on it! Lisa often chooses to isolate herself as she is very focused and given to her artwork.
Where are you and when are you? New York, at a park in present day. It is a hot day and the sun is shining down and casting a reflection onto the lake in the middle of the park. There are birds chirping, and flying above. Children are playing and screaming in the park to the left of Lisa, who is seated on a park bench opposite the lake. It is Saturday late afternoon and couples are walking down the path hand in hand in front of her. The sun is starting to set causing the sky to go an organey colour, making the white clouds in the sky stand out.
What do you want? To be inspired by the nature, people and environment surrounding her to produce an artwork.
Why do you want it? To produce her best piece of artwork, which she hopes will be accepted and showcased in the art gallery down the road. She has always dreamed of doing this, and she’s finally been given the chance.
How will you get it? By absorbing the environment around her, and jotting down notes, taking photographs and doing quick sketches Lisa will compile this and use it as inspiration to create her new artwork.
What will happen if you don’t get it? Lisa is a very determined person, and if she doesn’t succeed the first time she will try again and again until she does. She will see it as a learning curve, and try to improve her works by making them more abstract and using different materials.
What will happen if you don’t get it now? She would be heartbroken and hurt that her dreams have been crushed, but only momentarily. She will then work and try again until she produces an art piece that will be accepted into the gallery.
What is in your way? The competition she faces among other artist trying to get a spot at the art gallery, as well as the art critics and gallery owner(s).
What must you overcome? Lisa must be able to accept the criticism and potential rejection she may face when it comes to ‘submitting’ her artwork. She must learn to turn it around and channel positive energy and attitudes towards becoming better at what she loves.
28 - 1 - 15
VISUALISATION & IMAGINATION REFLECTION
What exercises have you engaged in, inspired by Stanislavski's System to explore an actors use of their imagination?
When first exploring this style of theatre, we engaged in a relaxation activity where we had to lay down on the floor with our eyes closed, in the dark while listening to soothing music and instructions on what part of our bodies to 'relax'. On the first occasion we did this activity, we then slowly opened our eyes and moved into a circle where Mrs. Moran pretended to be cradling a baby blue bird. This happened so suddenly, and almost randomly so we were all very confused as to what was happening - yet we went along with it, and continued the activity. We all had to imagine the bird as we passed it around the circle, and talk about it i.e it was injured and Mrs. Moran didn't know what to do with the bird. After the 'bird' went a full rotation around the circle, Mrs. Moran flipped from a more sympathetic and sad mood to an angry and ticked off mood - which led her to throwing the bird onto the floor, stomping on it and walking away angrily. All this came as a shock to all of us, but we simply continued imagining the now squashed bird on the floor and how sad and depressing it was to see a now dead bird before us. On the second occasion we did the relaxation part of the activity, we were then told to visualise a character in our heads and imagine who they were, what their hobbies were, what they're doing and other things along the lines of creating our own given circumstances. After this, we then had to get up slowly and move around the space in the Black Box as if we were the characters. We were allowed to slightly interact with others and objects around the room too. Once completed, we then had to sit and write out responses to the 10(or in our case, 9) commandments from the view point of our characters we'd just created. The following lesson we took these 9 commandments and were randomly partnered up and told to create a realistic performance on how our two characters met, using the commandments as our foundation.
What was your response to these exercises? If you found them ineffective, explain why?
Personally, I adore realistic theatre as I feel I'm much better at it as opposed to abstract and more physical theatre. So doing these exercises were fantastic and I really got in the 'zone' with them. I found the relaxation exercises we started each lesson with to be extremely helpful as I personally find it a bit difficult to come up with a character and their back story on the spot. Well, I know I can if need be but it wouldn't be in that much depth as it could be had I been given more time to think about it. With the relaxation activities, I was able to really visualise my character and (attempt) to fully immerse all my senses into what I believed the character would be feeling at the given time and place she was in. I was able to fully picture her back story, and had time to alter it if I thought otherwise. Using the 10 commandments to further create my character and help her to become more 3D was also really useful because it helped me to connect and embody her, and really think through what her goals were in life. This ultimately made devising a performance and connecting my character with my partner's and creating a realistic performance that was believable.
What was effective about your performance? Did you achieve a realistic scene with realistic characters?
I think what was most effective about my performance was that my partner, Chantel, and I were able to establish key point that could potentially tie our characters together. Fortunately for us, both our characters were very realistic which made it so much easier for us to come up with a situation where we would meet. After bouncing off ideas off of each other, we were able to come up with a realistic situation where our characters would meet. Chantel's character was an old woman living in Hong Kong, and since my character was an artist and looking for inspiration for a new art exhibit, we thought it would be cool if she flew from New York to Hong Kong and took photographs for her art exhibit. This gave us the idea that we would meet in a market, where the old woman would be shopping for food and my character would be acting all 'touristy' and taking photographs of objects and people - the old woman being one of them. I also think that because we included almost all the 10 commandments within our dialogue, it made it easier for our characters to connect as well as the audience to believe that we were in this situation, current time and place.
If we had done this task with not tasks before, would it have been as powerful or realistic?
Honestly, I do think that my performance would have been as realistic and as 'powerful' because the way that I tend to think is more along the lines of realism, and I like to base my characters and scenes off of that. Had we not been given as much time to come up with and visualise our characters may have potentially changed how in depth I had gone with my character and her background story - but I feel that I would have gotten there eventually. Also, had we not done the 10 commandments I also feel that I wouldn't have had a complete understanding of what my characters goals and past were like making it a tiny bit more challenging to connect with her.