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This was our dance assessment dance assessment was very well thought out as we demonstrated are good knowledge of chair duets reused things like your lifts contact and mirroring to show a relationship more than that show the progression ups and downs of a relationship something that we showed them to trade very well with how relationships can change and vary the varian benefactor of our relationship is with it always wasn't good however this meant that it would be hard to show relationship on stage which wasn't working then turn out to work this was a bit easier for us as we are actually in and out of class relationship which gave us the connection and physicality to create a good piece because we know the ups and downs better than anybody else this allowed us to show to our advantage and use the skills that Steven to ask during lessons such as how to use your body and exaggeration contacts and a lift workshop we had with him this was very helpful as that allowed us to Shine a light on some of the techniques we were taught. I think I'll peaceful successful because we had loads and loads of practice not just that however I believe we also had a connection that other people may not have we had a reason and a power and a will to do something that we achieve to do and it was good because just like most fairy tales that have a happy ending and everybody likes a happy ending  used voice enough pieces to show power and enthesis to show the things that were important and that we wanted to highlight such as (yes) and (I love you) these are important because they both highlighted key moments in the physical theatre which were meant to engage the audience's attention by captivating them into  empathising with the characters on stage it was enough performance was just a chair duet but it took people on a journey without it being characterized and that was our main objective to bring people on their story without even creating a character itself we done this for our bodies as in our first lesson found that different ways of sitting down or standing up can you show who you are as a person so we used our bodies to protray  a story line the main element of Office which I enjoyed was the diversity I think we were successful because we had an Entourage of movements and an entourage of different ideas which allowed us to show chemistry on stage.

would not upload on a word doc.

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Acting evaluation.

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Today we done a rehearsal, we spoke about our character and costume.

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Essay Greek Elizabethan 20 century  Theatre essay

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Essay Greek Elizabethan 20 century  Theatre essay

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Greek theatre was created because the Greeks believed that theatre healed people

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L3 Skills Toolkit Chair Duets Performance 3

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We Incorporated lifts into our piece as Stephen just done a workshop on that and this could improve our chair duets.

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IN today lesson we done a warm up of jogging then changing directions. we done an range of physically demanding exercises. some of these were practically burpies and sit up etc.

then we played a game where one person had to use there hand to stab another persons hand which was behind there back.

The last activity we done to warm up was a timing and teamwork exercise. We sat in a circle and had to count to 15 without messing up.

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small introduction to our piece (chair duet)

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Voice types and voice quality’s. Whats the difference?

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Mind Heart tummy?
What does your line make the audience feel
What does it make their person who recieves it feel. How does that affect and change the dynamic of the scene.

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What are objective
Traistive verbs how can they affect our acting?

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Play:  Into the woods

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How to succeed in business without  even trying.

Pitch: Low group

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How to succeed in business without even trying.

Pitch - low group.

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No coffe - how to succed in bussiness without even trying.

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J. Pierrepont Finch, a young window cleaner in New York City, reads the book How to Succeed in Business Without Really Trying as he works. The "Book Voice" tells him that he will succeed if he follows the book's advice. He enters the World Wide Wicket Company searching for a job ("How To Succeed").

Big business means big laughs in this delightfully clever lampoon of life on the corporate ladder. A tune-filled comic gem that took Broadway by storm, winning both the Tony Award for Best Musical and a Pulitzer Prize, How to Succeed in Business without Really Trying boasts an exhilarating score by Frank Loesser, including "I Believe in You," "Brotherhood of Man" and "The Company Way."

A satire of big business and all it holds sacred, How to Succeed in Business without Really Trying follows the rise of J. Pierrepont Finch, who uses a little handbook called How to Succeed in Business without Really Trying to climb the corporate ladder from lowly window washer to high-powered executive, tackling such familiar but potent dangers as the aggressively compliant "company man," the office party, backstabbing coworkers, caffeine addiction and, of course, true love.

An irreverent and tuneful romp, jam-packed with sly, swift and sharp jabs to the funny bone, How to Succeed in Business without Really Trying is a surefire hit! This show requires a large cast, featuring many roles for all types of performers and a great opportunity to showcase your male ensemble.

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Big business means big laughs in this delightfully clever lampoon of life on the corporate ladder. A tune-filled comic gem that took Broadway by storm, winning both the Tony Award for Best Musical and a Pulitzer Prize, How to Succeed in Business without Really Trying boasts an exhilarating score by Frank Loesser, including "I Believe in You," "Brotherhood of Man" and "The Company Way."

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Shepherd Mead.

"Not even computers will replace committees, because committees buy computers."—Shepherd Mead, quoted in the Wall Street Journal, June 18, 1964.

Shepherd Mead, born Edward Mead (April 26, 1914 – August 15, 1994) was an American writer. He is best known as the author of How to Succeed in Business Without Really Trying, which was adapted into a hit Broadway show and motion picture.

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Shepherd Mead, born Edward Mead (April 26, 1914 - August 15, 1994) was an American writer. He is best known as the author of How to Succeed in Business Without Really Trying, which was adapted into a hit Broadway show and motion picture.

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The book: "How to succeed in business without even trying"

The book is a satire of an instructional manual, very similar in form and subject matter to Stephen Potter's Gamesmanship. How to Succeed satirizes office life in the United States in the guise of a self-help book. Its subtitle is "The Dastard's Guide to Fame and Fortune".

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How to Succeed in Business Without Really Trying - Wikipedia

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How to Succeed in Business Without Really Trying: The Dastard's Guide to Fame and Fortune is a humorous 1952 book by Shepherd Mead. It inspired a successful 1961 musical of the same name, which was made into a movie in 1967.

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Play: "How to succeed in business without even trying"

How to Succeed in Business Without Really Trying is a musical by Frank Loesser and book by Abe Burrows, Jack Weinstock, and Willie Gilbert, based on Shepherd Mead's 1952 book of the same name. The story concerns young, ambitious J. Pierrepont Finch, who, with the help of the book How to Succeed in Business Without Really Trying, rises from window washer to chairman of the board of the World Wide Wicket Company.

The musical, starring Robert Morse and Rudy Vallee, opened at the 46th Street Theatre on Broadway in October 1961, running for 1,417 performances.[1] The show won seven Tony Awards, the New York Drama Critics Circleaward, and the 1962 Pulitzer Prize for Drama.

In 1967, a film based on the musical was released by United Artists, with Morse and Vallee re-creating their stage roles.

A 1995 revival was mounted at the same theatre as the original production (now named the Richard Rodgers Theatre). It ran for 548 performances and starred Matthew Broderick and Megan Mullally.[2] A 50th-anniversary Broadway revival directed and choreographed by Rob Ashford and starring Daniel Radcliffe and John Larroquetteopened on March 27, 2011, at the Al Hirschfeld Theatre and ran for 473 performances.

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How to Succeed in Business Without Really Trying (musical) - Wikipedia

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How to Succeed in Business Without Really Trying is a musical by Frank Loesser and book by Abe Burrows, Jack Weinstock, and Willie Gilbert, based on Shepherd Mead's 1952 book of the same name. The story concerns young, ambitious J.

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Darren taught us about objective super objectives.

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Today we had singing we learnt about larynx and the fundamentals of a good voice, James showed us a video of a woman singing in Falsetto he also showed us what happens when there is to much air pressure when singing. This showed us that we shouldn't rely or air to make our voices sound louder. We also watched a video on vibarto.

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On 20th in Neil’s lesson we done learnt about the meaning of line if it’s meant to affect the

Head
Mind
Belly

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Today we learnt about Larynx breath support system and many more here are the note that i took during the lesson to give a shot brief and summary of the lesson.

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On today lesson we rehearsed our improvisations.

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This video offers a brief introduction to the Ancient Greek Chorus.                                                                                      Chorus, in drama and music, those who perform vocally in a group as opposed to those who perform singly. The chorus in Classical Greek drama was a group of actors who described and commented upon the main action of a play with song, dance, and recitation.

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'Antigone': The Ancient Greek Chorus | National Theatre

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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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Units 1 and 2 will be assessed thorough Skills Toolkit. You can read the individual unit specifications here.

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Interactive theatre is not a new genre, but its popularity has exploded. Tricky to define but characterised by an active, physical relationship between audience and production, it often incorporates a site-specific venue around which the audience is free to roam. Shunt, arguably the daddy of this genre, has inspired countless other companies, all wrestling for space on the fringe.

Done well, interactive theatre is extraordinary: engaging, exhilarating and transcendent. All too often, however, so-called 'interactive' shows are sloppy and ineffective. They feel loose - anarchic even - when they actually demand a rigorous approach.

With this in mind here are five rules for interactive theatre from an audience perspective, based on my own experiences at a range of shows. Some of these productions might be called 'immersive' instead - spectators exploring settings as silent observers, rather than verbally interacting with actors and generating content. Both variations depend on ensnaring the audience in a new, complete and convincing world.

Think outside your venue

Site-specific venues range from reclaimed spaces to venues constructed entirely from scratch or the great outdoors. Sometimes these choices feels lazy, designed to deliver an initial shock, replicate the story's location or simply allow the audience space in which to roam. This is not enough. The most successful interactive shows ensure their space connects, vitally, to the emotions contained within a piece.

Any proscenium arch set can recreate a setting - interactive shows that do the same, only with walking space, such as Hotel Confessions, Hotel Medea and Punchdrunk's Sleep No More, are missing a trick. A good site-specific venue is not a standard set on an epic scale. Some of the most persuasive interactive shows play out on a near blank canvas.

Fringe favourite Briony Kimmings is a master of this art and her show, Mega, dumped the audience in a barren roundabout in Ipswich. With a headphone whispering memories of a lonely childhood in our ears, each spectator became a footloose kid. The Furies blasted out their tragic woe in the claustrophobic Old Vic Tunnels, using the throbbing shadows to emphasise their righteous anger. And in The Architects, Shunt created a head-spinning maze for our senses.

Justify your audience / actor ratio

I've lost count of the number of interactive shows I've seen in which the audience outnumbers the actors. On rare occasions - such as in Punchdrunk shows, when the audience is in masks and effectively contributes to the atmosphere - this can work. But in most instances an audience that dwarfs the show is a bad idea. They are forced to work harder than the actors so that the show's success depends not on performer energy but spectator passion.

Uninvited Guests' BAC show, Make Better Please, relied heavily on the presence of an outraged audience. One long section required the audience to hurl indignant questions at masked authority figures - an apathetic crowd made for a lacklustre show. A nervous or bored audience is the enemy of interactive theatre, but an emboldened and curious one is gold dust.

Enclose audiences, don't expose them

Much interactive theatre depends on getting the audience out of its comfort zone, without them realising it. Some shows ask spectators to stand alone in the spotlight and unload their secrets, as in Non Zero One's The Time Out Zone. Better ones enclose the audience so completely in their chosen environment that spectators no longer feel themselves. Wrapped up in a new sensory experience, we instinctively adapt.

The best example of this is the stupendously popular You Me Bum Bum Train. Here, the setting is so realistic, the actors so plentiful and the atmosphere so enclosing, there's no space to question the situation. Spectators are ready to take a risk, since they're working with, not apart from, everyone around them.

Keep things simple(r)

Shows increasingly take place in huge, multi-storey buildings, but vast spaces can lure directors into creating massively over-complicated shows. Half Cut's recent Shelf Life recreated an entire life trajectory from birth to death. Despite some transporting moments (such as crawling through a massive vulva), the show felt shaky and rushed overall and it was difficult to sink into such a frantic piece. Similarly, World Stage's Babel, which involved hundreds of actors and almost as many concepts, descended into a lukewarm fairground event.

Epic shows can become too big to control. Balls are dropped and the audience is left floundering in the vague gaps between all those bright ideas. Physical transitions between scenes can be neglected, particularly in large spaces with multiple floors. Plodding upstairs is not exciting. These journeys must be incorporated into the show proper - tiny and convincing details, such as the perfectly calibrated office space in Hannah Jane Walker and Chris Thorpe's The Oh Fuck Moment can be more overwhelming than large-scale but loose endeavours.

Be consistent

The most important rule of the lot. Without consistency, interactive theatre is a mess, with no meaning or point of entry for a bemused and confused audience. Consistency is the glue that holds interactive theatre together - it doesn't matter what world you create, as long as it's a consistent one.

Interactive theatre involves so many potential pitfalls, in which the spell might be broken. The trick to sustaining the magic is ensuring the same magician is creating the same type of magic through the entire show. Without this convincing cohesion, the audience will stop believing and start looking for the strings that tie your soaring concepts to the ground.

Create a world in which 'anything goes' and your audience will be the first one to follow this mantra - and leave.

* This article was corrected on 17 January to credit The Oh Fuck Moment to Hannah Jane Walker and Chris Thorpe, not Chris Goode.
This content is brought to you by Guardian Professional. To get more articles like this direct to your inbox, sign up free to become a member of the Culture Professionals Network. Topics

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Interactive theatre: five rules of play from an audience perspective

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Interactive theatre is not a new genre, but its popularity has exploded. Tricky to define but characterised by an active, physical relationship between audience and production, it often incorporates a site-specific venue around which the audience is free to roam. Shunt, arguably the daddy of this genre, has inspired countless other companies, all wrestling for space on the fringe.

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What is the audience's role in a performance? My research

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What is the audience's role in a performance? My research

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My personal research. My experience as a member of the audience, in two drastically different performances.

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There is other pages where we can find more details about it.                 https://www.backstage.com/advice-for-actors/backstage-experts/5-habits-healthy-working-actors/ And next here we can find more tips for being a healthy actor.

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At Mark Fisher Fitness, we've worked with hundreds of actors. We've trained everyone from Tony award-winning stars to Broadway gypsies, to actors prepping for pilot season. Furthermore, a large percentage of our team (including yours truly) is made up of former actors. So we've got a pretty good handle on what it takes to get actors feeling good about their health and fitness.

Albert Einstein once said, "Make things as simple as possible, but not simpler." While everyone's fitness journey will be different, here are some principles to consider.

1. More isn't better; better is better. This may be the most persistent myth in fitness. And the more driven and hardworking someone is, the more likely they are to fall in this trap. If something is working, it makes sense doing more will work even better. Unfortunately, this is rarely the case. Taking two aspirin means no more headache, but taking the whole bottle means no more headaches ever again! It may seem reasonable that doubling your exercise will double your results, but the body can only adapt so quickly. For most people most of the time, three to five hours per week of training is enough.

2. You can't out-train your diet. Regardless of your goal, nutrition plays a large part in fitness. What we eat determines how we look, feel, and perform. By focusing on a wide variety of non-processed foods, you'll be off to a great start. Protein, fruits, vegetables, and healthy fats will all be your friends, no matter the goal. But don't be afraid of carbs if you're active! If you're an actor in a place like NYC where you're always on the go, find some go-to healthy meals. Make a list of spots near work, audition studios, and your apartment so you know where to go in a pinch.

3. Resistance training beats cardio. There's nothing wrong with traditional forms of cardio like running or the elliptical, but it's not the most efficient option for most goals. For one thing, most cardio activities use a lot of repetitive, high impact motions. This can lead to overuse injuries over time. And believe it or not, resistance training is actually a better stimulus when the goal is fat loss. Based on your level, this doesn't have to be traditional "weight training." Bodyweight exercises that challenge your muscles can be resistance training. For best results, take your joints through a full range of motion and elevate your heart rate. Make sure your program includes at least two days a week of some form of resistance training.

4. Sleep is important. It can be hard to fit in a full night's sleep when you're busy. Actors often have to balance late night jobs and early morning auditions. While this is sometimes inevitable, quality sleep is an important part of fitness. If you struggle with quantity, sometimes you have to do your best with the demands of your schedule. But if you can make changes to get more time for sleep, do it. If you struggle with quality, look into creating consistent sleep habits. Avoid working in bed, make sure your room is dark, and look into white noise if your room is near loud noises.

5. What you love matters. As a final thought, what you enjoy should play a part in your fitness choices. The most important thing about any plan is actually executing! When looking for meal choices, don't settle for things you tolerate. Find foods you love. When looking at exercise options, don't make yourself crazy about finding the "optimal" choice. You're far better off doing something that's "pretty good" but that you actually enjoy.

As you read this list over, how well do you think you're doing on each point?

Here's one final tip: Focus on changing one thing at a time. A common mistake is attempting to overhaul your whole life all at once. This is hard to do and may lead to more anxiety than lasting habit change.

Read over this list again and choose one of the five tips you're going to focus on. Then, spend a whole month devoted to solidifying your new approach. From there, look to layer in better habits over time, and you'll be well on your way to longterm success!

Want to learn more? Click here to get MyBroadwayBody.com's free report, "The 5 Most Common Mistakes Performers Make."
Like this advice? Check out more from our Backstage Experts!
Mark Fisher is the co-owner of NYC's Mark Fisher Fitness. With a reputation as the fitness home of choice for the Broadway community, he and MFF have been featured in Forbes, the NY Times, the NY Post, the Huffington Post, and the Wall St. Journal, among others. For more, visit markfisherfitness.com and . Visit Fisher on @mfisherfitness.

The views expressed in this article are solely that of the individual(s) providing them,
and do not necessarily reflect the opinions of Backstage or its staff.

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auditions | casting calls | open casting calls | casting call | open casting call

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At Mark Fisher Fitness, we've worked with hundreds of actors. We've trained everyone from Tony award-winning stars to Broadway gypsies, to actors prepping for pilot season. Furthermore, a large percentage of our team (including yours truly) is made up of former actors.

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chicken tikka mango chuckney and a pint of larger.. NUN and PILLOW RICE POPPADOMS 

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chicken tikka mango chuckney and a pint of larger.. NUN and PILLOW RICE POPPADOMS 

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a Vocal warm up

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Jack (Virgins by John Retallack)
A Short biography my character jack who is 17 and troubled.

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In mine and Cheyenne's chair duets a theme a broken relationship, almost a story of Lost love. A relationship where one person is always feeling the opposite of the other. Ending with both of us switching places signaling the differences between us. In the duet. (plays on human compatibility)

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L3 Toolkit 20/9/2018 Chair Duets Performances

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Thursday 20th September 2018.

>Almost in synchronization.
>They use to body to build the story actions have meaning.
>They use actions to manipulate or stimulate the next move.
>small actions can also be big or have a deeper meaning.
>they use there hand but then incorporate there whole bodies.

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Thursday 20 September 2018.

>They incorporate balance.
>Use of lifts.
>they use Unison to dance toguether but also far away good use of distance (proximity)
>They use air dynamics, to show how a story can be told through not being strictly held to the ground or grounded.

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Character builder.

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 Identify issues that affect  the health and safety of performers and production.

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 Identify issues that affect  the health and safety of performers and production.

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HEALTH AND FITNESS

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The vocal fold contact and how contact changes and what it means.

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>Falsetto the the vocal cords barely connect, where as with head voice the cords have a stronger connection.

>Falsetto will not blend into the chest voice where head voice can.

>More resistance make it easier to adjust cords easier. Can easily use chest voice overtone hard to impossible to produce in Falsetto.

Cords don't have to reconnect in head voice, where as in falsetto it need to reconnect which makes it sound more clunky when blending.

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Ep.28 How to Sing - Falsetto vs Head Voice?

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Can a bad singer sound good with auto tune? DO you even need to be a good singer?

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Alright, I can't sing for my life, which is why I use Autotune, and this video completly shows how badly I sing without it. But hello Autotune, help me!

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(Day 10)
We started the day with warming up activities and games. We ran in different sequences like:

+THE OPPOSITE GAME: Consist on following the directions of the director of the game but doing them as the opposite meaning, for example if he says run we stop and if he says go to the floor we jump the highest  we can.

+ We present our names in 20 seconds.

+In 20 seconds we had to touch everybody elbows with out elbows.

+We also  made a circle to say our names and repeat them  with a energetic movement. This not just help us to feel confortable around stranger but to know each other and learn to work with them in pace. Continuing with the lesson we play a game not everyone could understand it with consisted on  a first person making eye contact  with a second person  who has to make contact to a third person which has to call her name before first person rich to second person place, and repeating the process.

+We finish the lesson by sitting in groups of four or fives and debating our class rules of how to be professionals and we wrote them in the whiteboard.

(Day 11)

Singing lesson:

We first started with the research  of how voice works. Then we starting warming up  with games to prepare our voices, activities like :

+Saying the words "A" and "Ñe" and both together in different tones.

+We had part of the scene " How to succeed in business without even trying". By pares we had to read the song as we wasn't signing it.

At the end we had to research about this play.