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Le unità 1 e 2 saranno valutate con completezza Skills Toolkit. Qui puoi leggere le specifiche delle singole unità.

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There are seven areas you must do well in. Have a look at this Matrix and the Distinction requirements.

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chair duet videos

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What Is the Audience's Role in a Performance

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What Is the Audience's Role in a Performance

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For the internationally known British performance group Forced Entertainment, contact with the audience is a pivotal moment in their artistic work. They constantly re-explore the line between stage and spectators and occasionally subject the relationship between performers and their audience to a serious test.

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This is the book where the scene of my future performance comes from: Falling from Shelley Silas.
Author:
Shelley Silas was born in Calcutta (India) in 1959, and moved to London with his family when she was a child.
In 2002 she won a 'Pearson Award', and she was a writer-in-residence at the London's Bush Theatre

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Duologue of 'Falling' by Shelly Silas.
Prolougue:
Linda (My Character) is a forty-two year old teacher who had four miscarriages and has been trying to get pregnant for the past seven years with her partner, Pete.
They've just miscarried for the fifth time and she's thinking about giving up and getting on with the rest of her life, however painful that may be.
Grace is Linda's niece who has come to stay. She's sixteen years old and announces that she's pregnant to a boy she doesn't love. She doesn't want to keep the baby and offers it to Linda. However, Linda doesn't want somebody's Baby, she wants her own. She also wants Grace to think twice about an abortion because she may never have another chance to get pregnant. Linda had an abortion when she was younger, thinking that there would be time to do it 'properly' at a later stage; however, time ran out.
This scene takes place outside on Linda and Pete's Patio. Grace is sitting on a upturned plant pot. She turns around and sees Linda watching her.

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Level 3 Perfoming Arts Westminster College Rehearsals:

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'Falling' by Shelly Silas Character Profile:

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'Falling' by Shelly Silas Character Profile:

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My chair duet is about 2 sisters and it shows how their relationships changes throughout the story.

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City of Westminster College Paddington Green Campus
Level 3 Performing Arts, Acting, Year 1
This is a improvised scene of ‘Falling’, 5 years after Grace had her baby, which we named Anthony in the scene. Grace decided not to abort the baby so she gave it to Linda to finish her studies. Coming back home, from UNI, Linda refuses to give her back the baby, and the situation degenerates...

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Improvisation Scene Inspired from ‘Falling’ by Shelley Silas

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Chair Duets: Frantic Ignition 2015 Company

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Approaching Script 1: Given Circumstances

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Approaching Script 1: Given Circumstances

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Watch this video and make notes. She's annoying, but helpful.

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Script Analysis for Actors: Step 1 - Given Circumstances

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From the Musical ‘How To Succeed In Business Without Really Trying’, Lower Harmonies, played with Piano

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How to succeed in business without really trying: No Coffee Break SoundTrack

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L3 Skills Toolkit 27/9/18 Chair Duets Rehearsal

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11/09/2018

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18/09/2018

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25/09/2018

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02/10/2018

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09/10/2018

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Lower Harmonies

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This is my SMART Target for acting.

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Those are the Given Circumstances I wrote myself for the performance that I’m gonna do, and the purpose for that was to drop down all my thoughts and make the final details clearer, like props and costumes

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This is the Musical Script of the Song ‘Into the Woods’ showing how it has to be played with the piano and how it has to be sang:

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This is the Script that we learned the song ‘No Coffee Break’ from, that is from the Musical ‘How to Succeed in Business without really Trying’, showing how it has to be sang, and played with the piano.( The highlighted part is my solo )

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While doing my research, I found this really interesting piece of information from SOAS 'The University Of London' which talks about the importance of the Performativity and the Performer-Audience Reletionship and how Shifting Perpectives and Collapsing Binaries are something key in Acting.

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The Aesthetic Relation Of Musical Performer And Audience by 'Daniel Putman':

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The Aesthetic Relation Of Musical Performer And Audience by 'Daniel Putman':

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The audience is one of the two essential features of a live theatrical performance, along with the performer. The performing arts exist in a finite space and time; this means that a performance, which is the work of art in theatre, has a finite existence in time. It begins, and it is over. Another, similar work of art may be created the next night, but the different audience and differences in the performers themselves will make the next evening's performance a different work of art. Compare this aspect of the performing arts to painting; different audiences may flock to the Louvre to see the Mona Lisa from year to year, or century to century, but the artwork remains constant in time and is unaffected by the presence of a different audience. Philosophers may argue the aesthetic paradox of whether or not a work of art can exist if no one sees it when they are talking about a painting, but in theatre, if the live presence of the audience is missing, the art form does not exist.

In live performance, the audience reacts to the performers who, in turn, react to the audience in a constant cyclic interchange. Actors will talk about "feeding off of" an audience's energy, especially in comedy, and complain about audiences who do not react in tangible ways. Actor's performances will vary greatly from one night to the next dependent in large part on audience feedback. Consider the differences in your reactions to a movie you have seen many times; the circumstances of your viewing will make the movie and your reaction to it seem different -- yet in this case there is no live exchange between you and the performers. Audience members will also effect one another's reactions. Large audiences are more likely to laugh or comment out loud than small audiences, in part because of the anonymity, and in part because others' reactions encourage and magnify your own reactions. You may laugh more, cry more, jump in your seat or respond vocally in a large, involved audience. Conversely, if the rest of the audience loves something that you dislike, it may intensify your own negative reaction to hear positive responses all around you.

In ancient times, theatre evolved from rituals which combined spiritual, social, educational, and artistic purposes. These rituals were highly participatory for the audiences. Like ancient audiences, theatre audiences today gather with individual expectations, a variety of levels of knowledge about the production, and a variety of personal tastes. Each audience, however, will form a collective identity for the length of the performance. Although audience members still participate in some sense in performances they attend, conventions of audience behavior today restrict the kinds of participation in the performance that was typical of ritual. Audiences applaud, laugh, boo, perhaps comment out loud, but are unlikely to offer alternative endings, to sing along, or to get up on stage and dance. Some forms of theatre requiring more audience participation remain popular today, examples include children's theatre, magic shows, or improv comedy.

While ritual performance has been universally a part of human history; each of us also has performance in our personal histories. Acting is a fundamental mode of human learning; children learn by acting out stories, games, things they see adults do, and things they imagine. As adults, we spend less time literally acting out our ideas, and we spend a great deal more time vicariously experiencing new stories or desires or dreams. When you see a play, read a novel, or go to the movies, a great deal of the pleasure of that aesthetic experience derives from your empathy with the characters and your vicarious experience of the characters' circumstances.

Film theorists have borrowed from psychoanalytic theory to develop a more complicated model of spectatorship, or how we relate to a filmic event, that is highly applicable to theatre as well. The first form of spectatorship derives from Freud's concept of "scopophilia", which literally means "pleasure in looking". As this concept is applied to audiences, it implies a voyeuristic relationship between audience and event, which is perhaps more appropriate to film than to some forms of theatre, which can be highly participatory as opposed to voyeuristic. Scopophilia suggests that the dramatic action unfolds magically in front of the spectator, unaffected by audience responses, yet gives the watcher an illusion of taking part in, or even controlling, the events of the drama. Consider how we tend to identify with the hero of a film: we shrink back when something threatens him or feel a sense of power when he defeats a foe. At the end we would be disappointed if he did not win the heart of the heroine.

A second idea derives from the "mirror stage", a concept more fully described in psycholanalysis by Lacan. In the "mirror stage" of human development, we see ourselves literally in the mirror and figuratively in other people like us (mom or dad) and imagine ourselves to be like those we see in the mirror, who are usually more powerful than ourselves, especially given that this stage describes children around age two. But film theorists suggest that this kind of imagining ourselves as more capable than we really are continues to shape us, primarily through our relationship to characters in narratives. This does provide a good explanation for our attraction to characters in such genres as action pictures or romances, in which we identify ourselves -- and perhaps literally model our behavior on -- the super human capacities of an action hero or the extremely attractive, poised, and talented romantic hero or heroine

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Task that we have to do by Monday 15/10/2018 in Acting:

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This is my Script with Actions written for my Duologue

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FIRST FEEDBACK TASK:
This is a recording where me and my partner and another group discussed about the relationship and the story behind our chair duets.
My story is about the difference of status between parental love(between sisters).

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The Ten Ingredients to a Successful Scene:

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The Ten Ingredients to a Successful Scene:

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This is my final performance for unit 1 and 2 with Oliwia Fudala in the Movement Category.

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L3 Skills Toolkit Chair Duets Performance 8

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1)What idea did you hope to communicate to the audience?
1)I wanted to communicate the status differences between an older and younger sister, and how, throughout the piece, their parental love changes from "Hate" to "Love" and then "Blood", and how they hate themselves by choice, but are sisters by blood, so they automatically love each other. We can also see that after they gained the "Trust" between each other, the younger sister supports the older one, when she’s most in need.

2)What physical Theatre skills or techniques did you use when devising or performing? Give examples.
2)Me and Oliwia used different types of techniques to show the change in relationship throughout the performance. We used different keyword such as “Hate”, “Trust”, “Love” and “Blood” to show the change of relationship, and to show that at first, we hated each other, I came up by using the disrespectful sound “Tsk” to show that.
I also lifted her in 2 different ways to show, that even thou there are ups and downs in our life, we still support each other when we’re in need, no matter what.

3)Select 3 moments from your performance that clearly communicated your idea. Describe the moment and explain why they were successful ion communicating your idea.
3) The first movement was definitely “The fight scene”, where Oliwia is trying to put me down, but I resist and the we grab each other’s neck and we say “Hate”, this showed that there really was a sense of hate at the beginning that could have happened for various reasons, like Jealousy or Vanity.
The second movement is straight after the “Fight Scene”, where I’m about to fall down but, Oliwia (older sister's role) catches me just on the right time not to let me fall and we both say “Trust”, this emphasizes that sometimes we might hate each other, but we always end up by making the right choice and save the other in need.
The third movement, I would say it’s the last balance trick that we did before the end of the piece, where we both (me and Oliwia) take each other’s wrists and say “Blood” and then jump in different directions, but end up always to sit next to each other, which clearly gives the audience the idea that we’re sister and that the same blood is running trough our veins, and that, even though, we will take different paths in our life, we always gonna end up meeting and be with the other again.

Select 3 moments from your performance that could have been developed further: explain why.
I sincerely think that I did my best in this performance and therefore i truly believe that the mistakes that we did were mostly centered on the fact that both of us were really nervous as we wanted to spread the message to the audience fully and it was also our first exam in this college which really make a general change in the performance.

Discuss how effectively your worked during the rehearsal and performance: did it change during the process? Give examples to support and discuss what you would do differently and why?
As i said previously, I strongly believe that I did my absolute best for this performance, Me and Oliwia were able to give the audience that parental emotion that we needed them to feel. In the rehearsals, I focused 100% at all times and i truly think that I have always done the right thing as Dance and Movement are my passions since I was really little. Our final piece, however was really different from our first rehearsal.
There are video and voice memos as a prove in the Movement Category.

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This is my final performance for “Into The Woods” for the singing category.

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This is my final performance for “No Coffee-Break” for the singing category.

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First Week: 13/09/2018

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This is a recording of me and Oliwia first's thoughts about our chair duet.

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This is the video of our chair duet, which is a slightly more developed version.

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This is another recording where me and Oliwia are talking about the theme and the changes our our piece.

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This was my last rehearsal video of “Falling” by Shelley Silas Duologue before the performance, it includes costumes and some props.

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This is the video of my last rehearsal for my chair Duet with Oliwia, which starts with us talking, and making the last changes

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This is our rehearsal video for the song “Children will listen” from the Musical “Into the Woods”

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This is a little note that Me and Nilenz wrote in rehearsal, I’ve just compared them to the new changes (the ones written below)

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Approaching Script 1: Given Circumstances Stanislavsky:

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Approaching Script 1: Given Circumstances Stanislavsky:

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This PDF document helped me to understand this important term further and how i applied it to work.

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Second Week: 20/09/2018

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This is the last rehearsal we did before our exam for singing.

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This is the last rehearsal that we did for our second song  before our exam in singing:

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History of Theatre & Audience Characteristic:

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History of Theatre & Audience Characteristic:

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This is my assignment for Skills Toolkit, is 2000+ words and it contains Harvard Referencing and Pictures.

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Level 3, Year 1 Skills Toolkit  Assessment 16:
'No Coffee Break' from How to Succeed in Business Without Trying':

1)Any  skills  you've  learnt  or  developed :
I've learned to use my breathing correctly while singing and I've discovered my inner voice by using muscles contraction of my larynx and pushing the right amount of air.
I would say that i really improved my 'vibrato' technique and I've developed my voice strength.

2)Rehearsal  Techniques:
I tried to use chest voice instead of nasal voice which was something that to be honest it was difficult for me to do as I've always used this nasal voice for my lack of training in this topic.
In class I have learned that "The stronger the air-stream, the stronger the voice" so as my rehearsal technique i used my mouth, throat and nose as a resonator.

3)Challenges  you faced/overcame.
I would say that one of my biggest challenges was to be able to sing loud in front of people as I never had a singing lesson before and I would never say that I have a nice singing voice, so I was really nervous about the idea of having to do a solo, however, I'm really proud about overcoming this fear because I've been able to sing really well on the actual exam.
4)How you  used  your  voice  and  the  information you  learnt  helped you.
I learnt that the mouth and the throat can both be a voice resonator so I used them in my final performance to have higher control on my vocal folds and to have a stronger tone that could have lasted longer.

5)Compare  the  rehearsal  and  final  videos:

Comparing the two videos, the main thing that I can see is that in the final video I was much more focused and I thought independently about my own grade and how I could do my best to achieve the top expectations. In the rehearsals you can notice that I’m not singing really loud as I was “saving up my voice” for the final video so that they could hear me clearly even from the camera.

6)What  you  would  like  to  learn  more  about  in  the  future:
In the future, I would love to learn more about belting as is a really efficient way on how to do higher notes and this has been my goal since I started college so, I would be my goal to achieve to sing an higher key, even thou it’s difficult, I’m sure that practice makes permanent so, I’ll be able to do it!

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Third Week: 27/09/2018

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Fourth Week: 04/10/2018