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In todays lesson, my focus was to perfect my Alignment , Timing and Rhythm. These key target where towards our plie sequence for my next assessment. Perfecting my alignment in jazz will help ensure my body is in the optimal position for executing certain movements with precision and control, this is main focused towards the areas that included contractions and flat backs. This will help prevent injuries by distributing my weight evenly, reducing strain on my muscles and joints. By focusing on my alignment, I have been able to improve my posture and balance in specific areas, this encouraged me to execute the more complex steps with more confidence.

Timing is another essential aspect to jazz as this grants me the opportunity to stay in sync with the music and the beats. Perfect timing ensure that every movement and step is clear and distinctive, this contributes to the overall flow and rhythm of the routines. By honing me time skills, I have been able to participate more intricate and engaging routines. This focus has significantly help me develop on my better sense of musicality and timing.

Rhythm is the heartbeat of dance as a whole especially in jazz, perfecting it key to participate dynamic and expressive performance. A strong sense of rhythm allows me to experiment with the different patterns used within, adding more depth and complexity. By concentrating on the rhythm, I have been able to enhance my creativity within the plie sequence making my performance more unique and memorable. This focus has connected me to the music more deeply. My future aim would be to perform with more expression as this will help me to convey more emotion through my body language.

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DATE OF ISSUE:

w/c Mon 3rd March 2025

SHOW DATES:

Tuesday 10th & Thursday 12th June 2025

3pm & 7pm

HAND IN DATE (COURSEWORK):

Friday 23rd May 2025 10am

HAND IN LOCATION:

Send a link to your padlet to Jess via Teams

AND....

Download Padlet as PDF and submit through Teams Assignments

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In todays lesson, My three Aims incorporated quieter beats, Balance and providing more performance. By tapping quieter it will allow me to create a range of dynamics my performance , providing more depth and interest into the techniques and routines. This helps when highlighting the louder movements, making them more powerful steps being provided throughout contrast. Tapping quieter requires a high level of precision and control, this helped my develop better technique and to execute steps with subtlety and finesse. When performing the choreography that was set, the softer sounds are needed to convey a specific mood of the story. This will help the louder sounds to stand out more. Dancing quietly allowed me to listen more carefully to he sounds I was creating, it also helped with synchronizing my taps with my fellow students. When Mastering this ability, it will encourage more versatile an adaptive movements to different styles and choreography.

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In tap, I have noticed that one of my weaknesses in dance is keeping my eye line up during centre work, which can affect my overall presence and connection with the audience. To improve, I need to consciously focus on lifting my gaze and maintaining a confident, forward-facing posture. Additionally, maintaining balance by using my arms effectively is crucial. I need to ensure my arms are engaged and positioned correctly to support my movements and enhance my stability. Practicing arm positions and transitions will help me achieve better balance. Another area for improvement is showing more performance quality in my dancing. I need to work on expressing emotions and adding more energy and enthusiasm to my movements to captivate the audience. To enhance this, I can practice performing in front of a mirror or record myself to observe and refine my expressions. On the positive side, one of my strengths is my ability to remember choreography quickly, which allows me to focus on refining my technique and adding performance quality to my movements. By addressing these weaknesses and leveraging my strength in remembering choreography, I believe I can significantly improve my overall performance and a stronger impact.

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In todays Ballet lesson, My three Aims to Strengthen my techniques consist of My posture, My balance, and Staying focused and engaged in the lesson. Maintaining an upright posture during Barre and Centre work is crucial as this can ensure the proper alignment is correct. This is fundamental for executing ballet techniques accurately. This helps dancers maintain there balance and control when doing pirouettes and exercises that consist of rising up on the tip of their toes. Muscle engagement embodies core muscles that are provided by good posture, which is essential for stability and strength, supporting the entire body. This enhances for more precise and powerful movements. I incorporated this objective because It will significantly help will my progression of focusing on my posture and keeping it consistent throughout Ballet exercises throughout. When applying this Aim I observed more strength in my technique, I was able to extended my skills further and provide more elegance to the exercises throughout.

Balance is an important part of Ballet when Plies, turns and releves are included in a variety of exercises. These exercises that consist of these techniques can help build the strength and stability needed for more advanced movements. Core muscles are a key essential and this can provided control during complex movements. Good posture links with this as it will allow dancer to execute movements with precision and control whilst maintaining balance independently. I encompassed this target and it will help with a variety exercises containing, Plies, releves with the leg risen up and significantly more exercises that consist this. Whilst doing the technique exercises, I perceived more balance during certain exercise, this was provided by good posture and a sustainable amount of core muscles. My Aim is to perfect the routines I struggled to remain balance and significantly perfect this by strengthening my core muscles.

Staying focused in Ballet is key ad it can help execute movements accurately, ensuring proper form and alignment is provided. Focusing is crucial for control an balance , this reduces the risk of injuries by being attentive to my body's positioning and movement helping to prevent accidents. Concentration will help in developing muscle memory allowing me to perform complex routines more effortlessly over time. focused practice will help me embed these movement ,provided at the barre and Centre work, into muscle memory. Staying focused will also allow me to fully immerse myself in my performance enhancing my artistic expression. During this lesson, I maintained more focus, this allowed me to embrace the technique i have and provide interest throughout te lesson.

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In today’s rehearsal,  one of my main weaknesses in ballet was not providing enough support with my arms and back, this affected my stability and the fluidity of my movements. To improve this I need to focus on engaging my core muscles and maintaining a strong, upright posture. Additionally, making my movements more visual is essential, the different way I can practice is in front of a mirror to refine my lines and extensions. Keeping my arms strong throughout barre exercises is another area I need to work on, ensuring my shoulders are down and my arms are slightly rounded. Perfecting my posture is crucial, so I can regularly check my alignment and consider incorporating Pilates or yoga into my routine to enhance my overall strength and flexibility. By addressing these areas, I believe I can significantly improve my technique and performance in my next ballet lesson and keep on perfecting my weakness for the upcoming assessment.

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In todays ballet lesson, while observing throughout this lesson I have noticed that some of my peers tend to look at the floor during their routines, this can detract from their overall presence and connection with the audience. It's important to keep their eyeline up to project confidence and engage more effectively. Additionally, some dancers need to focus on their alignment and ensure their feet are brushing the floor correctly during movements at the barre and centre exercises, Proper alignment and footwork are crucial for executing steps with precision and grace. Another key point is maintaining strong arms throughout the entire sequence at the barter, Strong, engaged arms not only enhance balance and stability but also contribute to the overall aesthetic of the performance. By addressing these areas,my peers can improve their technique and stage presence, making their performances more polished and captivating.

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Routine and song

The music I will be providing is Maybe by Sienna Spiro. The Dance technique I provided was Contemporary ballet.

Theme and emotions

This is a powerful song that delves into themes of pain, sadness, and anger. The song's poignant lyrics and emotive melody provided a rich canvas for expressing deep emotions. I provided  sharp, angular movements to convey anger and frustration, while fluid, sweeping motions can illustrate the underlying sadness and longing. The dynamic shifts in the music, this allowed contrasting moments of stillness and explosive energy, mirroring the internal conflict and raw vulnerability expressed in the song.

Details of my routine from start to finish

I began this  routine with minimal, almost hesitant movements, creating a sense of vulnerability. As the music progressed, I introduced protracted, sharp movements to convey the escalating intensity of pain and anger. These dynamic, angular gestures captured the raw emotional turmoil at the heart of the piece. Towards the end, I returned to the minimal movements similars to the beginning bringing the routine to a full circle and highlighting the lingering sadness and unresolved emotions. This cyclical structure emphasised the ongoing struggle and the haunting nature of the feelings expressed in the song.

Throughout this choreography, by not repeating choreography in my contemporary routine provided a fresh and unpredictable performance, my aim was to maintaining the audience's engagement and highlighting the creativity and versatility in the routine.

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With this feedback I have received, I need to focus the different dynamics in each sequence and perfect my performances by showcasing a variety of emotions. This can be achieved through exploring the different stages of my emotions and engaging the audience by providing this.

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In these exercise, providing more confidence throughout is key, this will allow me to focus on the choreography and engage the audience more by providing more energy and facial expressions

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In the pas de bourre exercise, one of my weakness is spotting to improve this I can simply keep my focus on one spot, this will help me more when turning as it will reduce dizziness

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In today rehearsal, one of my main weaknesses in tap dance is my feet can be heavy, which affects the clarity and precision of my sounds. To improve, I need to focus on making my steps lighter and more controlled by lifting my feet quickly and landing softly. Additionally, maintaining perfect alignment and posture is crucial, so I need to ensure my spine is elongated, my shoulders are relaxed, and my weight is evenly distributed. Regular posture checks and exercises to strengthen my back and core will support this improvement. Core strength is also essential for executing wing prep exercises and shuffles with precision and control, this can be incorporated by engaging my core muscles consistently and practice these movements with a focus on stability and balance. Incorporating core-strengthening exercises into my routine will enhance my performance in these areas. On the positive side, one of my strengths is my ability to quickly learn and remember choreography, which allows me to focus on refining my technique and adding expression to my movements. Additionally, I have a strong sense of rhythm, which is vital in tap dance, and my ability to stay on beat and synchronise my movements with the music enhances the overall quality of my performance. By addressing these weaknesses and strengths, I believe I can significantly enhance my tap dance performance and achieve better results in my next lesson.

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https://youtube.com/playlist?list=PLCin8py2DhGVMP8kRrVmHPzPhZULehkJ3&si=uspPrY5wJ7VbMPUc

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https://youtube.com/playlist?list=PLCin8py2DhGVI2kxllAoBi4CJy9VK-_L7&si=oKFF0jgpiSWlzs08

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During my audition process for " Chorus Line", I demonstrated several strengths that I believe set me apart. I was able to picking up choreography and technique quickly, which allowed me to focus on refining my movements and ensuring precision. My energy throughout the audition was consistently high, which helped me maintain the rhythm and timing, especially during the routine "I Hope I Get It". However, I recognised areas of improvement as well. I could have provided more expressive facial expressions to enhance my performance and to ensure better connection with the panel. To address this, I plan to practice infront of a mirror and record rehearsal in future lessons to observe and refine my facial expressions. Additionally, I struggled with the timing and choreography for the routine "One". To improve, I will dedicate extra time to break down the steps and practice them slowly before gradually increasing the tempo. Seeking feedback from peers and instructors will also help me identify specific areas to work on. Overall, I am hopeful that my strengths will shine through and that I will continue to grow as a performer.

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During my audition for "Chorus Line", I showcased my strengths and faced some challenges while performing my monologue and song. When singing "The Wizard and I " from the musical Wicked. My familiarity with this song allowed me to deliver the lyrics with precise timing and emotional depth, effectively acting through the song. The connection to the material helped convey the characters journey and emotions convincingly. However, my confidence wavered due to nerves, which affected my vocal performance. To overcome this, I plan to engage in more practical sessions and relaxation techniques to build confidence and reduce anxiety. Techniques such as deep breathing exercises, visualisation, and positive self-talk can help calm my nerves before and during performances. Additionally, performing in front of small, supportive audiences can gradually build my confidence for larger audiences.

In my monologue performance, I demonstrated strong facial expressions to convey my characters emotions, particularly while auditioning with Mike Monologue. This ability to express the characters feelings visually was a significant strength. Despite this, nerves led to a few mistakes in my lines, which were noticeable during the audition. To improve, I will focus on memorisation techniques and practice under simulated audition conditions to better mange my nerves, Incorporating mindfulness practices and physical warmups can also help reduce anxiety and improve focus. Overall, I am optimistic that my strengths will execute through and allow me to shine as a performing, aiming for the roles such as Bobby, Mike, Christine, or Val.

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Monologue and Song Audition

https://youtu.be/IU4CPHEMQyE?si=gpNcAV_Ws3YA7Yz9

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This rehearsal commenced with a through warm-up, with was highly effective in loosening up my body. this preparatory phase facilitated easier executions of legs kicks and provided a substantial support for my back. This significantly reduced the risk of severe injuries. The warm-up set a solid foundation for the physical demands of the choreography that followed.

We then transitioned into learning the choreography for "I Hope I Get It". The choreography incorporated elements from the audition, while introducing new steps that added a fresh dynamic to the routine. This blended familiar movements, keeping the learning process engaging and stimulating, allowing a deeper connection with the material.

STRENGTHS

Throughout the lesson, several strengths were evident. My ability to quickly pick up choreography was a notable asset, this enabled me to learn and execute new dance movements with ease. Additionally, my techniques skills were significantly improved, contributing to more precise and clean movements that enhanced the overall performance. Choreography retention was an other strong point, as I was able to remember and reproduce the steps accurately. Furthermore, my sense of musicality and rhythm added an extra layer of refinement to the lesson, ensuring that my movements were well timed and harmonious with the music.

WEAKNESSES

Despite these strengths, there were areas that required improvement. One area was facial expressions. I need to work on conveying emotions and expressions through my face to enhance the storytelling aspect of the performance. Another area for improvement was the application of energy throughout. Maintaining consistent energy levels is crucial for delivery a compelling and dynamic performance.

In future lessons, I can enhance my facial expressions by practicing in front of a mirror to become more aware of my expressions and seek feedback from instructors and peers. Incorporating acting exercises will also help me to convey emotions more effectively. For energy consistency, I will ensure through warm-ups to focus on my breath control to manage my energy levels. Practicing the choreography in segments with full energy will build endurance, and visualise the techniques whilst helping to maintain motivation and focus.

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During todays lesson, we began by thoroughly reviewing the full script of "A Chorus Line", which provided me a with a clear understanding of the timing and placement of my lines. This exercise was particularly beneficial as it allowed me to internalise the sequence of events and better anticipate my cues. My character Bobby Mills, is a complex individual with a psychotic past, yet he maintains a humorous and positive demeanor. Additionally, Bobby is recognised for his expectational jazz dancing skills, which adds another layer to his multifaced personality.

One of my key strengths during this session was my ability to quickly pick up the lines while going over the script. My sustained interest throughout the lesson enabled me to absorb every detail and nuance discussed. However, I identified a coupe of areas for improvements. Firstly, I struggled with the timing of my monologue, which is crucial for delivering a compelling performance. Secondly, my initial lack of understanding of the story line hindered my ability to fully gasp the musicals meaning.

To address these weaknesses, I pan to dedicate more time to practicing my monologues, focusing on the rhythm and pacing to ensure it aligns seamlessly with the rest of the performance. Additionally, I will engage in more in-depth script analysis to enhance my comprehension of the storyline, which will in turn, enrich my portrayal of Bobby Mills. By addressing these areas, I aim to deliver a more polished and insightful performance.

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During todays lesson, we began with a comprehensive vocal warm up, which significantly enhanced my vocal range and articulation. This exercise instrumental in preparing my tongue, mouth and throat for the demanding vocal tasks ahead. Following this, we incorporated physical and facial warmups, which proved beneficial in improving our diction by encouraging us to widen our mouths while singing. We then focused on the harmonies for the song "I Hope I Get It" and listened through the song "AND" which included my monologue.

one of my notable strengths during this session was my ability to retain lyrics quickly. Additionally, I demonstrated strong rhythm and timing with the lyrics, and my diction was clear and precise. However, I identified several areas of improvement. Firstly, i need to focus on cutting the end sentences more sharply to enhance the clarity of my delivery. Secondly, I must work on projecting my voice more effectively to ensure my performance reaches the audience. Lastly, I need to practice the challenging jump from a higher octave to a lower octave and back to a higher octave in bars 136-137.

To improve these weaknesses in future lessons, I plan to concentrate on the following strategies.

1. SENTECE ENDINGS- I will practice cutting the ends of each sentence more sharply by recording my performance and listening for areas where my delivery can be crisper. This will help me identify and correct any issues with clarity

2. VOICE PROJECTION- I will engage in exercises that focus on breath control and diaphragm support to enhance my vocal projection. Techniques such as practicing with focus on projecting to the back of the room will be beneficial.

3. OCTAVE JUMPS- I will dedicate time to practice the specific bars 136-137, focusing on smooth transitions between each octave. Using scales that incorporate octave jumps will help me build the necessary vocal agility.

By addressing these areas, I aim to deliver a more polish and impactful performance in future lessons.

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This lesson commenced with a thorough warmup that included a slight ab workout. This initial phases was instrumental in engaging my core muscles and significant boosting my energy levels, thereby setting a positive and dynamic tone for the rest of the practice. The warmup was effective in preparing my body for the physical demands of the choreography that followed, ensuring that I was both physically and mentally ready to tackle a new routine.

Following the warmup, we delved into the new choreography for "I Hope I Get It". Learning this new choreography was an enriching experience that required focus and dedication. As a class, we took the time to space ourselves, which was beneficial in understanding our positions and movements for when we practice in the performance hall. This spatial awareness is essential for a polished and coordinated performance, as it allows me to anticipate the movements and alignment that overall flows with the dance.

In terms of strengths, one of the standout aspects was my ability to quickly learn and retain choreography. This skill is fundamental for efficient rehearsals and confident performances, as it allows me to build my knowledge and refine specific movements within each practical session. Additionally, the execution of movements demonstrated a solid grasp of the techniques within dance, which is crucial for delivering a professional and polished performance. The effective use of different levels adds depth and visual interest to the choreography, enhancing my overall aesthetic of the performance by making it more engaging.

However, there are some areas that require improvement. Firstly, this is a need to inject more energy into a performance. This can be achieved by fully committing to each movement and maintaining a high energy level throughout the routine. Physical conditioning, such as incorporating more cardiovascular exercises into my routine, can help build my stamina and endurance, while metal focus and visualisation techniques can ensure that i stay engaged and motivated during rehearsals.

Secondly, facial expressions are a vital component for performances. Engaging the audience with expressive faces can significantly elevate the emotional impact of the routine. Practicing infront of a small group or infront of a mirror can help me become more aware of my facial expression and how they can be used to convey a wide range of emotions. Additionally, spending time understanding my characters emotions behind each piece of choreography and reflecting that in my facial expressions can enhance my performance significantly. Seeking feedback from peers and teachers on my facial expressions and making adjustments accordingly can also be highly beneficial.

Lastly, precision in timing is essential for synchronisation with the music and fellow dancer. Improving timing will lead to a more cohesive and harmonious performance. Using timer with specific and precise beat at a consist rate during practice can help me develop a better sense of timing and rhythm, while counting out loud can help internalise the timing of movements. Spending more time rehearsal with a group can also improve synchronisation and timing with fellow dancers, ensuring that we all move as on cohesive unit.

By focusing on these areas, I can enhance my performance and address the identified weaknesses. Continuous practice and commitment for improvement will ensure that I will always deliver and strive the best performance I can provide.

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This session commencing, focused on refining the choreography for "I Hope I Get It" and spaced it in the performance hall. This initial step was crucial for understanding our positions and movements within the space, ensuring a coordinated and polished performance. Proper spacing allowed me to visualise the final performance and make necessary adjustment to my placement.

We began the lesson with a warmup that effectively loosened my limbs and prepared my body for the physical demands of the routine. This warmup was particularly beneficial for the kicks within the choreography, enhancing flexibility and range of motion. Following the warm up, we concentrated on technique, specifically kicks and turns from the back of the room. This focus on technique allowed me to refine my movements and understand how to apply them within the choreography, ensuring precision and control was taken inconsideration.

In terms of strengths, the effective use of dynamics and levels within this choreography stood out. This added depth and visual interest to the performance, making it more engaging for the audience. Additionally, knowing the timing of the entrances and exits was a significant strengths, crucial for maintaining a flow of performances and ensuring smooth transitions. Another strengths was my spatial awareness, which allowed for a coordinated routine and alignment within the over flow of the dance.

However, there were areas that required improvement. One of the areas needing attention was my balance when turning. This can be addressed by focusing on core strength and stability exercise, which will improve balance and control when turning. Another area of improvement is injecting more energy into the performance. This can be achieved by committing my full interest and energy whist also maintaining high energy levels throughout the routine. Incorporating more cardiovascular exercises into my daily routine will help build more stamina and endurance. Lastly maintaining concentration is another area of improvement. By setting specific goals for each lesson and taking short breaks to refresh and refocus can help maintain the concentration and keep my engagement up to a high standard.

We also started learning choreography for the routine "One", with particular focus on spacing the finale section when the song is repeated. This step was essential in understanding our positions and movements within the space, ensuring the finale is coordinated and impactful. By focusing on these areas of improvements throughout this rehearsal, I can enhance my performance and address the identified weaknesses. Continuous practice and commitment to improvement will ensure that I have always strived and displayed my best performance.

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A chorus line is a seminal 1975 musical, co curved by the visionary director and choreographer Michael Bennett. This production was premiered on July 25th, 1975 at Shubert Theatre, New York. The Musical featured evocative score was composed by Marvin Hamlisch, emotional lyrics produced by Edward Kleban, and a persuasive book co-written by James Kirkwood Jr. and Nicholas Dante. The Set against the backdrop of a Broadways theatres bare stage illustrates the narrative view significantly unfolding around seventeen dancers vying for coveted spots in a Chorus Line. Through a series of heartfelt monologues and dynamic dance sequences, the performers and choreographers unravel there personal stories and decisive moments that have shaped their lives and driven their passion for dance.

The journey of A Chorus Line began with several workshops and an Off Broadway production, culminating in its Broadway debut at the Shubert Theatre on July 25th, 1975. The musical quickly became an unprecedented box office and critical sensations, Directed by Michael Bennet and co-choreographed by Bennet and Bob Avian. This production compiled twelve Tony award nominations, it won nine , including Best Direction, and Best Choreography. Additionally, it was honored within the 1976 Pulitzer Prize for Drama, a testament to its profound impact on the theatre landscape.

The Broadway production of A Chorus Line successfully achieved a remarkable longevity, running for an astonishing 6,137 performances. This record breaking performance made its longest- running production in the history of Broadway, until it was surpassed by Cats in 1997. It also reached the title of the longest - running Broadway musical originally produced in the United States until 2011, when the revival of Chicago the Musical overtook.

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03/03/2025 Dance Rehearsal 2, Opening and Ballet Groups “I Hope I Get It”

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03/03/2025 Dance Rehearsal 2, Opening and Ballet Groups “I Hope I Get It”

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WK1/ Dance Rehearsal 2, Opening and Ballet Groups “I Hope I Get It”

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03/03/2025 Dance Rehearsal 2, Ballet Groups No Music “I Hope I Get It”

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03/03/2025 Dance Rehearsal 2, Ballet Groups No Music “I Hope I Get It”

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WK1/ Dance Rehearsal 2, Ballet Groups No Music “I Hope I Get It”

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03/03/2025 Dance Rehearsal 1, Opening No Music “I Hope I Get It”

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03/03/2025 Dance Rehearsal 1, Opening No Music “I Hope I Get It”

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WK1/ Dance Rehearsal 1, Opening No Music “I Hope I Get It”

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03/03/2025 Dance Rehearsal 1, Group 1 Opening “I Hope I Get It”

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03/03/2025 Dance Rehearsal 1, Group 1 Opening “I Hope I Get It”

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WK1/ Dance Rehearsal 1, Group 1 Opening “I Hope I Get It”

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10/03/2025 I Hope I Get It Choreography Section 3, No Music

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10/03/2025 I Hope I Get It Choreography Section 3, No Music

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WK 2/ I Hope I Get It Choreography Section 3, No Music

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10/03/2025 I Hope I Get It, Jazz Groups No Music

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10/03/2025 I Hope I Get It, Jazz Groups No Music

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WK 2/ I Hope I Get It, Jazz Groups No Music

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13/03/2025 STAGING (1st run INTROS TEAM A)

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13/03/2025 STAGING (1st run INTROS TEAM A)

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13/03/2025 STAGING (1st run INTROS TEAM B)

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13/03/2025 STAGING (1st run INTROS TEAM B)

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17/03/2025  Dance Rehearsal, ‘One’ Section 1 A

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17/03/2025  Dance Rehearsal, ‘One’ Section 1 A

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WK 3/ Dance Rehearsal, ‘One’ Section 1 A

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17/03/2025 Dance Rehearsal, ‘One’ Section 1 C No Music

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17/03/2025 Dance Rehearsal, ‘One’ Section 1 C No Music

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WK 3/ Dance Rehearsal, ‘One’ Section 1 C No Music

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18/03/2025 Dance Rehearsal ‘One’, Section 3B No Music

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18/03/2025 Dance Rehearsal ‘One’, Section 3B No Music

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WK 3/ Dance Rehearsal ‘One’, Section 3B No Music

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18/03/2025 Dance Rehearsal ‘One’, Run with Music

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18/03/2025 Dance Rehearsal ‘One’, Run with Music

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WK 3/ Dance Rehearsal ‘One’, Run with Music

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25/03/2025 Gimme the ball no music new section

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25/03/2025 Gimme the ball no music new section

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During todays lesson, I engaged in a thorough vocal warm-up to ensure my voice was fully prepared for the session. This included sirens, Vocal exercises from YouTube, and facial exercises to warm up my articulators. These exercises were particularly beneficial in increasing vocal flexibility and clarity, helping my successfully achieve a more precise and controlled vocal performance. A key focus of the session was rehearsing he vocals for I Hope I Get It. One of my strongest elements was perfecting the octave shift in bars 136-137, where I was able to execute the transitions with confidence and accuracy. Additionally, I improved my projection, ensuring that my voice carried well without any cause of strain. I also worked on adding sharpness to the ends of specific lyrics enhancing the clarity and impact of my performance. However, one area for improvement was ensuring that I sang in chest voice at bar 140 to create a more powerful and resonant sound. By being more conscious of staying within the create harmony is also another improvement due to slipping into the female harmonies, as my harmonies are an octave lower. To address these weaknesses, I will focus on controlled breathing techniques an vocal placement to maintain chest resonance, and I will continue to isolate my harmonies within assembling rehearsals to reinforce their accuracy.

After working on vocals, we ran through the Song "AND", allowing me to refine the timings and rhythm of my lines and how they were executed. A significant strength I demonstrated was my ability to pick up my monologues quickly, ensuring I was prepared when my cue arrived. Additionally, I had a clear understanding of when my lines began and finished, which portrayed a strong preparation. However, I identified a weakness in maintaining the precise timing and rhythm of my lines. Throughout the lesson , I actively worked on this, significantly improving my timings.. Moving forward, I will continue to practice with a the backing vocal and focus on internalising the musical phrasings to ensure that my delivery remains consistent and aligned with the ensemble.

We also worked on the song One (Bows) , running through the entire piece and analysis the different harmonies within it. This was particularly useful in reinforcing the boys harmonies and ensuring that the different octaves were clearly established. One of my main weaknesses was switching from mid- octave to low-octave in certain areas, which occasionally caused inconsistencies in my vocal placement. Additionally, some parts required more attention to the lyrical rhythm and timing. However, I excelled in picking up the majority of the lyrics quickly whilst having a strong foundation of familiarity with the song, this allowed me to engage confidently in the run through. To improve, I will continue to rehearse transitions between octaves, ensuring hey re illustrated smoothly. I will also use rhythmic exercises to enhance my precision of the lyric delivery, enabling me to maintain consistency in timing.

In addition to vocal work, we focused on characterisation, specifically on how our characters present themselves when delivering lines at the beginning of chorus line. My role as Bobby requires me to portray a highly energetic and hyperactive character, meaning my delivery must be fast-paced and filled with excitement when speaking to Zach, who is the main character within the show. One of my challenges is ensuring that my energy remains high while maintaining control over my delivery, as there is a risk of speaking to quickly resulting in a loss of clarity. To improve this, I will work on pacing techniques and breath control, allowing me to balance excitement with precision in my speech. Additionally, I will study Bobby's character in further depth to develop a stronger physical presence, guaranteeing my movements and expressions will reflect his personality effectively.

Overall, these sessions were highly productive in strengthening my vocal ability, timing and character development. By addressing my weaknesses though targeted exercise and practice strategies, I will be able to refine my performance on a deeper aspect and achieve a more polished and professional standard for show day.

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SCRIPT ANNOTATIONS ( introduction to AND  

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SCRIPT ANNOTATIONS ( introduction to AND  

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STRENGTHS

Jazz technique

Choreography retention

Muscle Memory- this helps when recapping over choreography an scenes.

Improvising choreography

Singing confidently in front of peers

Expressing a range of emotion when performing. - Provides a deeper meaning of my character and the story line behind this.

Team work- brings the presence of each rehearsal with more energy and provided more work to be completed.

Hard working

Flexibility in certain areas.- this will provide a more larger range for cleaner kicks and other skills presented.

WEAKNESSES

Constant switching from high to low notes when singing.

Providing constant high energy.

Learning lines spot on.

Flexibility in certain areas.-

OPPOURTUNITIES

Dancing outside of college- Engaging in dance lessons 5-6 times a week to enhance my skills and stamina.

Rehearsing set choreography at home- practicing routines at home to refine movements and incorporate facial expressions.

College shows and trips - Practicing in college performances and excursions will improve my portrayal of routines.

Watching musicals - Observing musicals to better express emotions and body language, to relate to the shows during performances.

Taking part in various events- involvement in pantomimes, rare production shows, Alton towers, Disneyland Paris, chance2dance events, The Super weekender and London events to gain diverse performance experience.

THREATS

Transport to performances.

Illnesses- Can significantly affect my vocal chords and voice.

Sore throat and pulled muscles- Effect the way I perform choreography .

Not enough money for shows or trips.

Medical condition- Can affect my attendance, if a low blood sugar accurse or a high blood sugar my mood and behaviour could be affect by the way I perform.

Confidence.

Time of arrangements.

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The Original London production of A Chorus Line unveiled at the Theatre Royal Drury Lane on July 22nd, 1976. The significance of this production was marked as a substantial cultural exchange due to the American cast from the international Tour initially executed the run before transitioning to a primarily British Cast.

CASTING AND NOBLE PERFORMANCES.

Cassie, whom was originally casted as Elizabeth Seal ( known for "Irma La Douce), was withdrawn at a critical juncture, being replaced by her understudy, Petra Siniawski.

Zach was portrayed by a French Actor and Dancer Jean- Peirre Cassel, adding an extra layer of international flair to the production.

The different variety of other key cast members including Diane Langton as Morales, Jeff Shankley as Al, and Stephan Tate as Greg, had the option to became veterans of the West End and British Television whilst being portrayed as actors.

Despite initial concerns of this Musical being conveyed as "Too American" for the British audiences, the production was met with critical acclaim. These concerns were raised about the appeal to the U.S. touring audience outside New York City. The originality of the production had its abilities to address serious themes while maintaining a strong connection of entertainment that value won over many critics. The adaptations for the British audiences contained a few minor changes to ensure the musical resonated with the British point of view. The jokes about public school were removed to avoid confusion, due to British public school are private, fee-paying institutions, whilst being conveyed differently with the American Counterparts.

The awards and legacy's of this London production ran for three years and achieved significant accolades. An Oliver Award was issued as the first recipient of the Oliver Award for the best musical. The evening standard award was also won by significantly showcasing the best musical. The success of the London production solidified A Chorus Line as a timeless and universal piece of theatre, transcending the capability of cultural boundaries and resonating with the audiences world wide.

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The 2006 Broadway revival of A Chorus Line opened at the Gerald Schoenfeld Theatre on October 5th, 2006, ensuing a successful run in San Francisco. This revival, directed by Bob Avian, whom had been the co-choreographer of the original production, featuring choreography precisely reconstructed by Baayork Lee, an original cast membe3r who played Connie Wong. This revival was a significant financial undertaking, costing over $8 million to produce, recouped its investment in just 19 weeks, demonstrating the enduring appeal of the musical. The opening night cast was blended with a seasoned amount of performers and fresh talent, bringing new life's to the ionic roles, maintaining the shows legacy while introducing the new generation of theatergoers, the cast included Paul McGill, Michael Berresse, Charlotte d'Amboise, Maria Davi, James T. Lane, Tony Yazbeck, Heather Parcells, Alisan Porter, Jason Tam, Jessica Lee Goldyn, Deidre Goodwin, and Chyryssie Whitehead. Notably, on April 15th, 2008, Maria Lopez joined the cast as Zach, adding a star power and drawing in the audience.

This critically acclaimed revival, received two nominations for the Tony Awards in 2007: one was designated for Charlotte d'Amboise in the category of featured roles and additionally for Best Revival of a Musical. These nominations underscored the performers exceptional talent and the productions quality. Furthermore, the revival was the highlight of the documentary film " Every Little Step", which provided the in-depth look of the casting process and the impact on the show, further cementing its cultural significance. A notable aspect t of the 2006 Broadway Revival was the financial agreement attained in February 2008, in the midst of dancers and Michael Bennett's estate. The original contract for A Chorus Line supported the provisions for sharing revenues with the directors and dancers who participated in the initial workshop sessions. Nevertheless, the contract did not specify revenue sharing for the revival. The agreement ensured the contributions of the original creators were honored , reflecting the collaboratives spirit, that has continually been the foundation of A Chorus Line.

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THE 2012 AUSTRALLIAN TOUR OF A CHORUS LINE.

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THE 2012 AUSTRALLIAN TOUR OF A CHORUS LINE.

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In 2012, A Chorus Line, embarked on a highly successful tour across Australia, directed by Baayork Lee, who had been in the original Broadway production. This tour garnered a significant critical acclaim and numerous nominations, underlining the exceptional talent entangled. Among the accolades were Helpmann Award nominations for Best Actress in a Musical for Anita Louise Combe, who illustrated Cassie, Best supporting Actor in a Musical for Deboarah Krizak, and Best Supporting Actor in a Musical for Euan Doidge. This production ultimately triumphed the Helpmann Award for Best Musical, solidifying its status as a standout theatrical event. Subsequent to its success in Australia, the identical production and Cast travelled to singapore, where the performed at the Maria Bay Sands Theatre from May 4th to May 27th, 2012. This internationally continued touring to received praise, showcasing the universal appeal and enduring relevance of A Chorus Line.

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The Musicals returned to London for a West End revival in February, 2013 at the London palladium, running through August of that year. This returned revival was directed by Bob Avain, the original choreographer, ensuring that the production retained the authentic choreography that was captivated by the audience through its inception. The cast featured distinguished artists such as John Partridge, Scarlett, Strallen, and Victoria Hamilton-Barritt, with James T. Lane reprising his Broadway Role. Leigh Zimmerman executed a noteworthy performance as Sheila, earning the Laurence Oliver Award for the Best Performance in a Supporting Role within the Musical. On June 9th, 2013, the Producers announced the London revival Cast was recorded for a new casted album. This Album was particularly special, since it encompassed songs previously unheard, that was written for the show but unfortunately didn't make the final cut. This decision not only preserved the legacy of A Chorus Line but offered a newly freshened perspective on the rich history of the Musical itself.

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HISTORICAL CONTEXT OF VIETNAM WAR.

The Vietnam War, otherwise known as the second Indochina War, was a protracted and controversial conflict that took place from 1955 to 1975. This hollowed the communist government of North Vietnam, supported by the Soviet Union and China, counter to South Vietnam, which was endorsed by the United States and other anti-communist allies. The war was a direct manifestation of the Cold War tensions and the theoretical struggle between communism and capitalism.

ORIGANS AND ESCALATION

The conflict began in the aftermath of the first Indochina War, which was overseen by the defeat of French colonial forces in Vietnam. Upholding the Geneva Accords of 1954, Vietnam was divided temporarily divided at the 17th parallel into two separate entities: The communist led North Vietnam and the pro-western South Vietnam. The United states posited the fall of one country to communism would lead to the spread of communism in the region, driven by its policy containment of the domino theory, beginning to provided the substantial military aid and support to the South Vietnamese government.

As the escalation of the war rised, the United States increased the military involvement, experiencing a climax of over 500,000 American troops stationed in Vietnam by 1969. The conflict escalated to becoming increasingly controversial due to its high human cost, with catastrophic causalities on both sides, the use of polarising tactics such as napalm and Agent Orange.

DOMESTIC IMPACT AND ANTI-WAR SENTIMENT.

The Vietnam War had a substantial influence on Americans Society. The drafted lottery system disproportionately impacted the working class and minority communities, the lottery randomly selected eligible young men for military service. The anti-war movement gaining impetus, fueled by graphic media coverage of the brutality of the wars, incorporating the ionic photography of a young Vietnamese girl, Phan Thi Kim Phuc, running naked and burned after the napalm attack. A catalysed emergency resulted along side the war of the counterculture movement. Hippies and other young Americans, disillusioned with mainstream society, materialism, conformity and rejected war. This advocated for peace, love and equality, often displaying folks music as a meaning of artistic expression and protest. Songs by the artists such as Bob Dylan, and Joan Baez became anthems of the movement of peace, reflecting the growing disenchantment within the war and the desire for social change.

CULTURAL AND POLITICAL LEGACY

The Vietnam War was marked as a critical turning point in the relationship of politics and music. The explosion of proleptical music during this era underscored the power of art as a tool for social justice and advocacy. The ending of the war took place in 11975, with the fall of Saigon and the unification of Vietnam under communistically control, leaving a lasting legacy on the American foreign policy and domestic politics

The historical context of the Vietnam War provided a backdrop of the significant cultural shifts, involving the complexed geopolitical dynamics and the growing discontent of the American people. The themes of struggle and aspiration in A Chorus Line, which premiered in 1075, can be illustrated by the reflection of the boarder societal context of the era. The musicals focus on individual dreams and challenges resonated deeply within the audiences thought process who were grappling with the aftermath of the war and the broader quest for collective and personal identity

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Vietnam War folk music is characterised by the emotional and influential themes that reflected the sentiments and time periods. The lyrics often tackled various aspects of the war, addressing the personal and political implications.

ANIT-WAR SENTIMENT

One of the core concepts in Vietnam War fold music was the opposition of resounding the war itself. featured songs captured the growing disillusion within the conflict and its criticising government, expression outrage over draft and the imbalanced responsibility placed on the working class, further more, these songs connected with this experience: "Fortunate son" by Creedence Clearwater revival and " What's going on" by Marvin Gaye.

HUMAN COST AND LOSS

Many peoples songs addressed the human experience of war, emphasising the loss of life and the suffering endured by civilians and soldiers. The emphasise of the tragic consequences of war and the emotional and physical trauma was experienced by these songs and those involved : "The Universal Soldier" by Buffy Sainte-Marie and "Billy Don't Be A Hero" by Paper Lace.

PROTEST AND ACTIVISM

Folk music served motivational slogan for activism and appeal to action. Artists featuring Phil Ochs and Country Joe McDonald wrote songs challenging directly, the war and eagered individuals take the stand to be against it. The ionic bond related song like "I-Feel-Like-I'm-Fixin'-To Die Rag" by Country Joe and the fish became an anthem of protest, urging people on to question authorit6y and demand certain changes.

PEACE AND RECPONCILIATION

Amidst the violence and chaos, folk songs offered reconciliation and a vision of peace. Song featuring John Lennon's "Imagine " envisioned an atmosphere of world free from conflict and division, promoting understanding and unity. The offer glimpsed the vision of hope and inspired individuals to strive for a greater future

VETERANS' EXPERIANCE

Folk music provided a platform for veteran's to share their stories and experiences. song featuring Bruce Springsteen's "Born In The USA" and " I Was Only 19" by Redgum shed light on the struggles faced by the veterans returning, confronting issues such as post-traumatic stress disorder (PTSD) and the difficulties to adjust to the life of a civilian.

These themes linked with the Vietnam war fold music captured a range of complexity and diversity of emotions surrounding the conflict itself. They served by giving the voice of pain, disillusionment, and the hope of the deeply affected generation. The strong sensation of these songs lay in their ability to provoke through and inspiration through actions, creating a sense of solidarity among those seeking further justice and peace.

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THE IMPACT OF THE VIETNMAN WAR ON SOCIETY AND CULTURE.

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THE IMPACT OF THE VIETNMAN WAR ON SOCIETY AND CULTURE.

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The profound impact the Vietnam war experienced on the American society ignited a widened spread on protests, lading to a cultural shit that reverberated far beyond the battlefield. This Era of intensifying conflict and social upheaval saw folk music played a crucial part in shaping the publics opinions and stimulating a generation to question the pursue social change and authority.

THE DEEP DIVIDE AND ANTI-WAR MOVEMENT.

The Vietnam war demonstrated a divide in Americans society, within the anti-war movement contributing to a gain of significant momentum as the conflict escalated. Folk music became the background music for this movement, illustrating a powerful voice for those opposing the war and involving individuals to source action. Iconic songs like Bob Dylan's "The Time They Are a-Changing" and John Lennon's " Give Peace a Chance" became the anthems of the peace movement, drawing people together in their call for an end to the war.

FOLK MUSIC AS A UNFIYING FORCE.

As an unifying force, the folk music brought individuals together from diverse backgrounds and ideologies of political sources. The created a platform for dialogue and shared experience's, adapting to a sense of community and empathy upon those dedicate to the opposing war. Many spaces became a open minded for individuals to connect, organise and express their dissent through art and music such as Coffeehouse's, folk festivals and campus gatherings.

CHALLENGING TRADITIONAL VALUES.

The impact of the Vietnam war folk music extended beyond the immediate anti-war movement. The contribution to the broader cultural shift challenge traditional values, amplifying the voices of communities. Many artists explored themes of social justice, equality and the power of grassroots activism, encouraging a different generation to the authority and work towards the positive changes. This time of day marked a critical point in the relationship between politics and music, as artists began finding their own voices in advocating for justice and change.

LASTING LEGACY AND INFLUENCE.

The cultural shift of the Vietnam war sparked the impacts it illustrated on the folk music extending far beyond the 1960s and 1970s. The anti-war movements and the music that defined within it laid the groundwork for the subsequent social and political activisms, influencing the shaping of the course of history and future generation. This served a reminder of the power of music and art, illustrating change and foster collective actions.

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The Watergate scandel took place from 1972 to 1974 and was a pivotal political event within the American history, involving the president Richard Nixon's administrations on illegal activities. This scandel also had profound implications for the American politics and governance on behalf of Nixon's registrations.

INITINAL ARREST AND BREAK IN.

On June 17th. 1972 five burglars were apprehended after breaking into the Democratic National Committee Headquarters located in the Watergate Hotel complex in Washington D.C. The charge of burglary and wiretapping were held on their account within day of the arrest. Among these implications, G.Gorden Liddy, general counsel of the committee to Reelect the president, and a former white house aide. Despite the constant persistence press reports, the suggested involvement by the administration, Nixon and his aides heavily denied the connection to the break in.

THE 1972 ELECTION AND SUBSEQUENT TRIALS.

In November 1972, Nixon was reelected with a significant margin despite the scandel, this issue resurfaced in January 1973 during a trial of the burglars before Judge John Sirica. The accessions of five pleaded guilty, while 2 others were convicted b the jury. The direct questioning of witnesses by the Judge unraveled hidden information on the coverup orchestrated by senior White House officials, including H.R. Haldeman, John D, Ehrlichman, and John W Dean. This reveal coursed the resignation of these official's and Attorney General Richard G.Kliendienist in April 1973.

IMPACT AND LEGACY.

The Watergate scandal had far-reaching consequences for American politics. This resulted in significant changes in legal and educational practices, portraying a stronger presentation on the professional responsibilities and ethics. The scandal also adapted a spirit of skepticism towards government actions and a demand for greater transparency in political decision making.

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CIVIL RIGHTS MOVEMENTS OF THE 1960S AND 1970S

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CIVIL RIGHTS MOVEMENTS OF THE 1960S AND 1970S

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In the timeframe of 1960 - 1970, the civil rights movements were a pivotal moment in devising the cultural landscape of the United States. These developments involved the fight for racial equality, LGBTQ + rights and women's rights, profoundly influencing the arts and society, involving Broadway productions like A Chorus Line, which celebrate the individuality and diversity of many rights.

RACIAL EQUALITY.

The fights towards racial equality was portrayed and characterised by the events marked by landmarks and legislations that endeavored to abolish segregation and discrimination. The following events were participated by activists, sit-ins, marches and protests, increasing their lives of riskiness to demand justice. The featuring achievements of The Civil Rights Act of 1964 and The Voting Rights Act of 1965 were key legislative achievements that were contradicted by within the era.

Women played a significantly crucial role within the Civil Rights Movement which was often overshadowed by their males counterparts. This led local organisations serving as lawyers whilst facing gender discrimination within the time period. Throughout this experience there were several key figure facing a similar problem whilst speaking out their problems to society.

GWENDOLYN ZOHARAH SIMMONS.

Gwendolyn Zoharah Simmons was a member of the Student Nonviolent Coordinating Committee (SNCC) and one of the three women who contributed to the field director for the Mississippi Freedom Summer Project. Gwendolyn faced a significant amount of challenges in her role, gender discrimination was a massive part, resulting in needing to fight for resources and respect, She also took a strong and persistent energy against sexual harassment within the ,movements.

LONNIE KING.

Lonnie King highlighted the issues of the male privilege within the movement whilst contributing to being an activist with the SNCC in Atlanta, He expressed his emotions that Diane Nash, a key figure in the Nashville movement, not electing as a representative, contributing this oversight to sexism.

EKWUEME MICHAEL THEWELL.

Ekwueme Michael Thewell took place as a leader of the Nonviolent Action Group at Howard University, reflecting on the sacrifices made by Women college students who join the struggle. He took inconsideration that these women often faced constraints and were excluded from the conventional of societies normality.

MILDRED BOND ROXBOUROUGH.

Mildred Bond Roxborough significantly emphasised the crucial roles women played in the organisation whilst taking an a role as a long-time secretary of the NAACP. She highlighted the contributions of women like Daisy Lampkin, who extensively traveled to organise and provide branches and garner memberships.

DORIS ADELAIDE DERBY.

Doris Adelaide Derby describe the resourcefulness and the strength of women in the moment. The notations she took inconsideration were women who relied on each other and who work together to overcome there challenges. This was investigated whist she contributed to the SNCC Activist.

RUBY NELL SALES.

Ruby Nell Sales overcame psychological traumas from racial violence, this emphasised the broader context of Rosa Parks activism. The explanation of parks refusal to move to the back of the bus was a part of a larger rebellion against the daily assaults that took place against the daily assaults faced by African American women.

The Civil Rights Movements in the time period of 1960-1970, alongside the enormous impact of music and the reflection of nature of Broadway Productions, had a significant impact influencing the cultural landscape. These moments provided a broader landscape of the groundwork for the subsequent social and political activism, shaping the course of its history and inspiring future generations to work on a more equitable world for others.

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The progression towards equality illustrated the remarks of Rallies and Protests of the 1960s women's rights movements. This marked a pivotal decade within the History of Americans witnessing an impact of these movements of championship rights and social justice. Despite these movements, women's rights were thought for arising a potent force with the equality of demanding women's rights, fair treatment and the autonomy to provide a shaping of their own destinies.

The era of 1960 did not provide a standalone chapter within the history, however the result of years of advocacy for women's rights were portrayed. Early activists involving the suffragettes of the early 20th century, laid the outline for change. The effortless effects for women's voting rights came to frustration within the ratification of the 19th Amendment in 1920. This struggle continued, leading World War II where many women were reverted to the traditional domestic roles as me transformed back from the military service, unraveling the constraints put in position on the women's behalf, igniting a new wave of activism.

The memorable rallies and protests of this decade was marked y a series of compelling rallies that reunited women from diverse backgrounds. The following pivotal events included The 1963 March on Washington providing a vital platform for women advocating gender equality and racial rights. The 1968 Miss America Protest ,led by feminists like Robin Morgan, challenged the standards of beauty standards, imposing on women being crowded by a pig name Porkchop as a symbol of their defiance. Women's strike for equality took place in 1970, which took place on the anniversary on the 19th amendment, striking the nationwide o thousands of women advocated for equal pay, affordable child care, and reproductive rights, illustrating the varied issues women faced. Each of these events highlighted women's struggles, empowering many other who are inspired by there movement. The bravery and dedication portrayed by countless women establishing a foundation for legislative reforms and the reshaping of societal normality's.

The women's rights movements of the 1960s was lead by a numerous of passionate leaders who provided bravery and who could solve the reshape of society. The following women were some key figures listing : Betty Friedan who was an author and activist, her significant impact of her work ignited a wave of feminism, co-founding the National Organism for women in the 1966 era. Gloria Steinem emerged as a leading figure of the feminist movement in the late 1960s and 1970s. Whilst working alongside as a notable journalist, a groundbreaking platform for women's issues was explored whist co-funding Ms. Magazine. Shirley Chisholm was the first African American women elected to congress, the unique challenges faced by women of colour was advocated and addressed for intersectional of the all the difficult challenges faced upon.

While the Women's Rights Movement of the 1960s addressed the range of complicated issues, it was important to acknowledge that the movement was not homogeneous. Women of different socioeconomic background, races and experiences were confronted inequality uniquely. Women of colour intersectionally gained prominences throughout this timeframe as they frequently encountered systemic racism alongside sexism, leading to movements that addressed both of these challenges. These looks were emphasised by both leaders Audre Lorde and Bell Hooks. On the other hand, working class women had economic disparities remaining a concern. Many working class women campaigned for there labored rights, that significantly impacted their wages and the conditions that the were working in. Making the contributions they took part in more vital to the movements broader agenda.

"In the face of Oppression, we must unite our voices; together, we rise and elevate one another."-Nada Alahdal.

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The Musical A Chorus Line was  premiered on Broadway in timeline of 1975, the groundbreaking of the portrayal executed of LGBTQ+ characters and themes was  provided  visually by the queer stories at a time when the representation was rare in the mainstreams of media

A Chorus Line was one of the first major Broadway musicals to address its characters when their homosexuality was open and free. One of the main characters  Paul, executed by Sammy Williams in the original Broadway production, delivered a poignant monologue about his experiences and the way he handled his life as a gay man. This monologue reveals the struggle he took upon with identity and acceptance of how everything was different particularly the heartbreak he faced when his parents discovered his sexuality.

Paul's story was inspired and created by the real-life experience of Nicholas Dante, one of the co-authors of the musical.  Nicholas Dante's personal narrative of growing up poor in New York City was a feeling of being scorned because of his homosexuality in reflected of Paul's character This honest and open portrayal provided a voice to the LGBTQ+ community and resonated deeply with audiences, especially the offering of inspirations and courage to those facing similar challenges to this day in age.

The visibility of LGBTQ+ characters in A Chorus Line had a greater impact on the community. The success and critical acclaim of the musical helped to normalise queer identities and the experiences in the arts. This won nine Tony Awards and the 1976 Pulitzer Prize for Drama, becoming the longest-running production in Broadway history at the time

The film adaptation of A chorus Line, was released in 1985, continuously highlighting these themes, bringing the story to a wider range of audiences. The character of Paul, played by Cameron English in the film, remained a centrist  figure in portraying the struggles, challenges and triumphs of LGBTQ+ individuals.

The representation of LGBTQ+ characters in A Chorus Line was part of a broader movement within musical theatre, this significant gave a voice for  diverse and authentic aspects. Other musicals of the era, such as "Cabaret" and "Hair," also featured gay or bisexual characters, pushing boundaries and challenging societal expectations.

A Chorus Line stood out for the direct discussion of the sexual aspects of its the played characters lives, moving beyond the stereotypical portrayals that had previously dominated the stage through musicals and plays. This shift upon  more nuanced and realistic realities of LGBTQ+ individuals marked a significant step forward in the fight for equality and acceptance.

A Chorus Line played a crucial and important role in advancing  the rights of   LGBTQ+  and the representation of the arts. The honesty and heart felt  portrayal of queer characters provided visibility to the community, inspiring many people and contributing to the larger  movement for social justice.

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THE DEVELOPMENT PROCCESS OF A CHORUS LINE.

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THE DEVELOPMENT PROCCESS OF A CHORUS LINE.

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The development process of the musical A chorus Line has had fascinating and innovative approaches. This procedure involved forming the musical from a range of series of tapes session through workshops with Broadway performers who explored and shared their personal stories. This marked a significant shift in how musicals were developed, approaching an unprecedented turn of events.

This musicals was transformed through a series of taped workshops, illustrating Broadway dancers who showcased there stories. This system provided a more authentic and personal narrative into the musical, illustrating a more genuine perspective on the lives of unique dancers. This approach was innovative due to its diverged traditional process of developing musicals, this therefor typically included a more greater approach where composers and writers created the music and narrative separately as individuals. However, this method involved the direct attraction from the performers within the creation process, providing a more reflective final production of their real life experiences. The significant shift in how the musicals were developed, highlighted the importance of the collaborations and authenticity within storytelling, paving the right footsteps for future productions and the adaptions for similar approaches. The value of the incorporation of real life experiences and stories, demonstrated a value within the shifts of the theatrical productions, making them more relatable and impactful for the audiences views.

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A CHORUS LINE AND ITS IMPACT ON BROADWAY.

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A CHORUS LINE AND ITS IMPACT ON BROADWAY.

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The Broadway landscape within the timeframe of 1970s were a challenging period for Broadway productions. The facings of declining tickets sales, the rising production costs and the competition from other forms of entertainment including television series and films. The Urban decay and the downturn from the economic status in New York City further reaccelerated these issues and complications, leading to a significant drop within Broadways popularity. These production of A Chorus Line that took place at Shubert Theatre on July 25th,1975 was a musicals success played by pivotal roles within revitalising the interests within b roadway itself. The demonstrations this musical provided both commercial, viable and artic innovative, paving the way for many future productions. This Musicals impacted extended further than any other commercial success, breaking new grounds for storytelling and staging. The focus on the struggles of dancers and their personal lives provided a honest and bare portrayal of the performing arts industry. The use of props, including mirrors and innovative choreography set new high standards for theatrical productions.

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The revolutionised economics of A Chorus Line was demonstrated by the commercial success without any reliability on major influencers or elaborate

sets. This transformation was a significant industry where higher production costs often recommended bigger and bolder names to draw a more broader selection of audiences, fixating on the raw talent and stories of individual performers, compelling a range of content that could attract and sustain a larger view.

The first profession show was opened at the Shubert Theatre on July25th, 1975, this ran for 15 ongoing years with a total of 6,137 performances with a broad range of audiences and performers. The long performances of this time period, gave this musical a name for the longest-running shows in Broadway history, alongside the exceeded musical of Cats which took place in 1997. By the year of 1990, A chorus line had uniquely created $146 million from its Broadway gross and $277 million altogether in U.S. grosses. This succession made a path for other productions to modify similar strategies that were cost-effective, leading to some adaptations towards its financial landscape of Broadway.

Within A chorus line, the light of the realties faced through economic statuses provided complications with Broadway dancers. The musicals narrative resolved around the audition process for Broadway itself illustrating the financial challenges and instability which was significantly inherited into every dancers career. The faced periods of unemployment, physical demands, and the inconsistent income of the profession provided the limit between each performers career and longevity. The success within the show underscored the brilliance of the ensemble cast, uplifting the status of each dancer whilst highlighting their contributions to the success of a production. The difference of the atmosphere helped provided a broader range of attention to the professional struggles and the economics of each dancer, adapting a greater appreciation for the work provided within the industry.

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A chorus line brought the life back to the economic realities faced by Broadway dancers, highlighting the financial and instability challenges in the careers they took part in. The narrative of the musical revolved in an atmosphere fill with student prepping for the audition process for a Broadway show, the poignant depicted the competitive behavior, often demoralising the audition process for undergone dancers. This groundbreaking aspect portrayed the stories and struggles of dancer who took center stage for the first time within musical theatre production.

FINACIAL INSTABILITY AND JOB MARKETING CHALLENGES.

The succession of The musical A Chorus Line had a prefunded impact within the careers of every Broadway Dancer. This illustrated an unprecedented visibility to those performers of colour and the diverse backgrounds, on the other hand white casting was a predominantly normal action that took part within this era. Specific character like Diana Morales and Paul San Marco offered sophisticated portrayals of ethnic populations, highlighting the aspirations and struggles committed. The groundbreaking representation of this action provided a clear path for more inclusive casting within future productions. Subsequently, the focus of this musical was based on the personal and professional struggles of dancers and performers, creating a greater appreciation for the work within the industry. The emphasis on the importance of the ensemble casting and the assistance of elevated dances, progressively rose the statuses and highlighted the economic and professional challenges.

LONG TERM ECONOMIC IMPACT.

The long-term impact upon A Chorus Line on Broadway dancers was meaningful, delivering a successful moment through demonstrating a compelling storyline of raw talents the draped the audience. The influence of this measure equipped more interest on future productions and a broader economic strategy of Broadway. This shift created a more diverse and innovative production to emerge, reducing the risk of financial problems associated with a higher budget range for other shows. Furthermore, this musical delivered a broader range of awareness for the economic struggles faced by dancers, fostering a wider appreciation for the work and contributions committed for a successful production. This brought a large increase on visibility and recognition towards the lasting effected on the economic status of Broadway dancers, helping to adjust the working conditions and job security.

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CONTEXT:

Much more detail in your SWOT, on your weaknesses especially, for example: 'Flexibility in certain areas' HOW will you look to overcome this weakness?? Elaborate more.

You must complete your skills audit

PLANNING AND PRODUCTION:

Costume... I can't see your board design? Also, write some detail about WHY you have chosen the outfit/colours etc based on your character research. Much more detail on these things...

Add images of your own personal make-up and hair trials?

Props lists missing

Add in your character resume to this column

RESEARCH:

Love all your various production research, consider now attaching any images from your findings... I would love to see images of the original cast/production etc

In fact, consider adding images into all your research to support your writing.

Make sure you note in your research how these events in history impacted Broadway, performers, and influenced A Chorus Line

100'qs on character (Character research) is missing

Message in a Bottle is missing

PRACTICAL SKILLS:

Include voice recordings of your particular harmonies

Write about warm-ups, or include footage of one of our warm ups

EVALUATIONS:

Consider when discussing your performances in rehearsals, how your character and general research is helping your with your performance

BIBLIOGRAPHY:

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