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19/10/18

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18/10/18
This our Chair duet performance.

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L3 Skills Toolkit Chair Duets Performance 3

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16/10/18
(FINAL PERFORMANCE)

This is our performance on the song, Coffe Break- How to succeed in business without even trying.

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16/10/18
(REHEARSAL)

This is our performance on the song, Coffe Break- How to succeed in business without even trying.

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16/10/18
(FINAL PERFORMANCE)

This is our performance on the song, Into the Woods - Children will listen.

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16/10/18
(REHEARSAL)
This is our performance on the song, Into the Woods - Children will listen.

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Use this to find your vocal range - it only takes 1 minute. If you sing solo you need to know your range so that you can put songs into keys that suit your voice best. If you sing in a choir, you need to know your range to find the right section of the choir for you e.g. soprano, alto etc. If you practice singing your vocal range may increase over time. Choir Section vocal ranges are shown in a table at the end of the video so you can see where your vocal range fits in.

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One of the warming ups activities we had made during this project is the activity 'SING' consisted in repiting this word in different pitches nfollowing the piano

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This is a small introduction to our piece of chair duets Jake Paton and me.

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Today we decide to meet out college times to rehearse in jake's house our chair duet piece. Where we perfectioned our lifting movements and streghching ones. We could saw how the practice gave us skils of remembering each momvement and performed faster and clean each time.

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ESSAY>>>> HOW THEATRE STARTED?

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As our lesson today was about adding lifts and words or phrases into our pieces. This is so helpful to improve our chair duets as it helps to tell the story we want to createabout it.

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In this powerpoint we can see the skills we are developing or using, techniques/movement components to develop choreographic ideas and ways of making contact.

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this was our first performance of chair duets, i can said we wasn't totally prepare and we forgot so many movements but one good thing was that we knew how to improvise new ones by knowing what we wanted to transmit to the audience.
Jake and i, we tried to demonstrated a broken relationship, a story of love where one person is always feeling the opposite of the other. In the end
we wanted to show the differences between both by switching places playing the human compatibility.

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L3 Toolkit 20/9/2018 Chair Duets Performances

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Are you up to date? Have you completed the following tasks for this Toolkit?

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This a example of 20s century plays where has made a impressive reaction to the audience.

Themes:

20th-century theatre, Power and conflict, Exploring identity

Chris Power introduces An Inspector Calls as a morality play that denounces the hypocrisy and callousness of capitalism and argues that a just society can only be achieved if all individuals feel a sense of social responsibility.

J B Priestley’s play An Inspector Calls, first performed in 1945, is a morality play disguised as a detective thriller. The morality play is a very old theatrical form, going back to the medieval period, which sought to instruct audiences about virtue and evil. Priestley’s play revolves around a central mystery, the death of a young woman, but whereas a traditional detective story involves the narrowing down of suspects from several to one, An Inspector Calls inverts this process as, one by one, nearly all the characters in the play are found to be guilty. In this way, Priestley makes his larger point that society is guilty of neglecting and abusing its most vulnerable members. A just society, he states through his mysterious Inspector, is one that respects and exercises social responsibility.

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FIRST FEEDBACK TASK:

Watch and give feedbacks to other groups.

What relationships do you see?
I can see sort of relative relationship between both but doesn't seems romantic.
Why? Because of the contact that they used for example  they used their hands to move each other into different steps which show support between both.
What could they do to make the relationship clearer?   I think they should rehearse more so they create more confidence because it looks like they are planing in the moment what are they gonna do and it doesn't project too much story into the audience. I think if they practice more the movement would be faster and they should include more lifting or equilibrium.

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Chair duets is a powerful activities which we had to give feedback and to change our way of thinking also adding new ideas and listening to new ones.
In this audio you can hear which ideas we was speaking about for our chair duets performance.

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20-09-18

In this video we can appreciate the synchronisation and the body movements to show how both of them project a story together.
It is really interesting how they stimulate or manipulate their actions to made the next move.

I learn how small actions can be also big ones with a deeper meaning. They do this by using their hands but later on they use whole body movements.

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Here we got some examples of 20th Century theatres plays.
Twentieth-century theatre describes a period of great change within the theatrical culture of the 20th century, mainly in Europe and North America. There was a widespread challenge to long-established rules surrounding theatrical representation; resulting in the development of many new forms of theatre, including modernism, Expressionism, Impressionism, political theatre and other forms of Experimental theatre, as well as the continuing development of already established theatrical forms like naturalism and realism.

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Find close readings, critical interpretations and personal responses to the works of key 20th-century playwrights and practitioners, including Samuel Beckett, Harold Pinter, Shelagh Delaney and Timberlake Wertenbaker.

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Find close readings, critical interpretations and personal responses to the works of key-20th century playwrights and practitioners, including Samuel Beckett, Harold Pinter, Shelagh Delaney and Timberlake Wertenbaker.

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-The tours of these players gradually replaced the performances or the mystery and morality plays by local players, and a 1572 law eliminated the remaining companies lacking formal patronage by labeling them as vagabonds.-At court as well, the performance of masques by courtiers and other amateurs, apparently common in the early years of Elizabeth, was replaced by the professional companies with noble patrons, who grew in number and quality during her reign.-A privy council is a body that advises the head of state of a nation, typically, but not always, in the context of a monarchic government. The word &quot;privy&quot; means &quot;private&quot; or &quot;secret&quot;; thus, a privy council was originally a committee of the monarch&apos;s closest advisors to give confidential advice on affairs of state.-Although performing for the Queen's court was definitely what had more prestige their "rehearsals" for the public are what supported them financially.

Make up contained lead which led to death via lead poisoning.

-Attending a public theatre performance would cost between 1 to 3 pennies, but admission to an indoor theatre would cost 2 to 26 pennies.-Everybody in the theatre audience was given a seat - the higher the price of admission, the more comfortable the seat was.

FUN FACTS!The seating capacity of the theatre is 1500 people but 3000 people will be inside at the start of the show.Special effects at the Globe were also a spectacular addition at the theater allowing for smoke effects, the firing of a real canon, fireworks (for dramatic battle scenes) and spectacular &apos;flying&apos; entrances from the rigging in the &apos;heavens&apos;.

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The tours of these players gradually replaced the performances or the mystery and morality plays by local players, and a 1572 law eliminated the remaining companies lacking formal patronage by labeling them as vagabonds.-At court as well, the performance of masques by courtiers and other amateurs, apparently common in the early years of Elizabeth, was replaced by the professional companies with noble patrons, who grew in number and quality during her reign.-A privy council is a body that advises the head of state of a nation, typically, but not always, in the context of a monarchic government.

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Greek Theater: Sets, Props, and Scene Elements

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The skênê broke the tradition of circular stages, and later evolved, having a paraskenia (stone wall for exits and entrances, episkenion (upper story), and logeion (balcony to speak to audience). Hidden Symbolism in Props - literally translates to "a god from the machines" - used

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In today last Darren's lesson, we started by warming up by:
>jogging, changing directions, running faster and slowly, jumping the highest we can, sit in the floor and stand up fast, 10 push ups, 10 sit ups, lay in our backs and shake the violent we can, the go to side and shake and last shake looking into the floor and acting we are swimming in water. Then we play the game where one person has to catch others and hand them to to catch the rest. other game we play was to count to 15 one by one in a circle with our eyes close. In conclusion of this lesson we rehearsed our scene with the costumes on to try them and watch if it match with the scenes.

After this, in dancing lesson we rehearse our chair duets and we add new parts into the choreography also we decide to meet out of college to practise it.

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Was first performed by Clean Break Theatre Company in 2005. Mercy Fine was made from 5/09/2005 to 25/11/2005. Is a gripping and intensely moving drama about the effect of a sing, life-changing, moment of crisis. Mercy Fine is in her prison bed at midnight, in just over 24 hours she'll be going back home, but home was the family she destroyed. As Mercy's future looms, her part hunt her...

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Mercy Fine

5 September 2005 - 26 November 2005

Mercy Fine is a gripping and and intensely moving drama about the effects of a single, life-changing, moment of crisis. Mercy Fine is in her prison bed at midnight. In just over 24 hours she'll be going back home, but home was the family she destroyed. As Mercy's future looms, her past haunts her...

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5 September 2005 - 26 November 2005 Mercy Fine is a gripping and and intensely moving drama about the effects of a single, life-changing, moment of crisis. Mercy Fine is in her prison bed at midnight. In just over 24 hours she'll be going back home, but home was the family she destroyed.

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My character Frehia is a prisoner, worker partner of Mercy Fine as both work once a week in the charity shop. Frehia is white ethnicity and witness how a random women spat Mercy after calling her a racist name. Frehia is also worry that Mercy wont get out from prison for spatting back, so she will make sure Mercy is prepare to talk to the Governor.

Frehia is in her 25-35's age, she is not too tall, she is blond and were usually a ponytail, she is in prison because she steal cars, is a jealous person and probably religious.

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Stage Management (RADA Diploma)
Year of graduation 1984
Theatre film maker.
Director of the play  " Mercy Fine", which is the name of the Drama play of my duologue scene.

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This is the play which we take the song 'children will listen' form it and we will sing it.

Children Will Listen/Finale

Original Broadway Cast of Into the Woods

Produced by Rick Steiner, M. Anthony Fisher,Frederic H. Mayerson & 2 more

Album Into the Woods (Original Broadway Cast Recording)

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Resources

No matter where you are on your theatrical journey, our innovative production resources will enhance your show experience!

Questions & Answers

Related shows or resources: Login to flag as inappropriate
RehearScore®Plus, Into the Woods

Tempo Changes of Individual Markers

Is it possible to adjust the tempo of a marker without effecting the tempo of the entire song?

For example, I would like to increase the tempo of m. 17-32 from 100 to 116, but maintain the original tempo starting at m. 33.

Thank you
Answer this Question
This question has no answers

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No matter where you are on your theatrical journey, our innovative production resources will enhance your show experience! Related shows or resources: Login to flag as inappropriate RehearScore®Plus, Into the Woods Tempo Changes of Individual Markers Is it possible to adjust the tempo of a marker without effecting the tempo of the entire song?

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This was our last singing lesson, where we talked about vocal faults. There are various methods to choose from when diagnosing a vocal fault. This chapter provides
clarity on what is considered a vocal fault in classical singing technique. Various methods of
diagnosing a vocal fault will also be discussed. The symptoms and causes of vocal faults will
be addressed according to their relation to the physical processes involved in the production of
classical vocal technique. Defined by a vocal fault as an incorrect manner of approaching or executing
an element of the singing process, which may result in temporary or permanent vocal damage.

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Play: Into the woods
Pitch: low group
Lyrics:
Wife: Sometimes people leave you
Halfway through the wood
Do not let it grieve you
No one leaves for good
You are not alone
No one is alone
Hold him to the light now
Let him see the glow
Things will be all right now
Tell him what you know..

Witch [simultaneously with Baker]:
Careful the things you say
Children will listen
Careful the things you do
Children will see
And learn
Children may not obey
But children will listen
Children will look to you
For which way to turn
To learn what to be
Careful before you say
"Listen to me."
Children will listen

Company: Careful the wish you make
Wishes are children
Careful the path they take
Wishes come true
Not free
Careful the spell you cast
Not just on children
Sometimes the spell may last
Past what you can see
And turn against you...

Witch: Careful the tale you tell
That is the spell
Children will listen..

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

Is a musical by Frank Loesser and book created by Abe Burrows Jack Weinstock and Willy Gilbert based in this book created in 1952 by Sheperd Mead's first performed in 1961 with 1471 performances and seven Tony award. Here is the musical video of 2017

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How To succeed in Business Without Really Trying - Summit High School - 2017

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Today just rehearsed our scenes, it was better lesson because we knew our lines so this helped us to make more movements and get in control over our characterisation.

We also tried to give feedback to others groups by watching their scenes and giving opinions and ideas.

Therefore my partner and i we had been talking about costumes, as we are in prison we thought that wearing orange trousers and t-shirt will be perfect but as we didn't found trousers with that color we decide to just use black leggings and shoes and orange t-shirt. We also made time to meet and make our braids meanwhile we thought about drawing tattoos in our bodies to show a negative environment.

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Today in lesson we had to show our performance and watch others couples and give them feedback, this is how far we had prepared and because the other couple wasn't ready they just helped us by giving us ideas like for example the pace and fast movement together give an effect of Dynamic content. We also rehearsed our scenes by mercy fine - Shelley Silas.

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Jake and cheyenne rehearsing chair duets

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As always we start singing lessons by researching on how voice works, today we focus on voice types & psychology of singing.

What are the different voice types?

Voice type is a system for categorizing classical and operatic solo singers, and the roles they sing, by the tessitura, weight and timbre of their un-amplified voices in an opera house or concert hall. This classification system is a tool for singers, composers, venues and listeners to categorize vocal properties, and to associate possible roles with potential voices.

The term tessitura generally describes the most musically acceptable and comfortable timbre for a given voice or, less frequently, musical instrument. This often refers specifically to the pitch range that most frequently occurs within a given piece, or part, of music.

Tessitura considerations include these factors: proportion of sudden or gradual rises and falls in pitch - speed of pitch changes; the relative number of very high or low notes; whether lines and phrases of music in the piece tend to rise or fall ¨C the muscular abilities of a singer may be more suited to one or the other direction.

Coloratura describes a style of vocal embellishment, as well as the voices able to perform them.

Female Voice Types:

Soprano

Lyric coloratura soprano ¨C A very agile voice with a high upper extension, capable of fast vocal coloratura.
Dramatic coloratura soprano ¨C A coloratura soprano with a large voice which can sustain fast coloratura at full volume and sing over an orchestra, but does not necessarily have the upper extension of a lyric coloratura soprano.

Lyric soprano - A warm voice with a bright, full timbre which can be heard over an orchestra.
Light lyric - Light lyrics often have a ¡full package¡ of musicianship, appearance and stagecraft.
Full lyric - Some full lyrics may have a more mature sound than light lyrics, making them less suitable for some of the lighter roles. Occasionally a full lyric will have a big enough voice that she can take on much heavier roles, using volume in place of vocal weight. This is done when a more lyric timbre is desired in an otherwise heavier role. Otherwise full lyric sopranos need be judicious with spinto and other heavy roles to prevent vocal deterioration.

Spinto soprano - It has the brightness and height of a lyric soprano, but can be "pushed" to dramatic climaxes without strain, and may have a somewhat darker timbre. It generally uses squillo to "slice" though a full orchestra (rather than singing over it like a dramatic soprano). It also handles dynamic changes very well.
Dramatic soprano - A powerful, rich voice that can sing over a full orchestra. Usually (but not always) this voice has a lower tessitura than other sopranos, and a darker timbre. - Used for heroic, tragic women of opera.
Wagnerian soprano - A dramatic voice that can assert itself over a large orchestra (over eighty pieces); substantial, very powerful and even throughout the registers. Usually plays a mythic heroine. Successful Wagnerian sopranos are rare, only one or two appear in a generation; arguably there are none singing today.

Mezzo-soprano - A mezzo-soprano's range can be the same as a soprano¡¯s; some mezzo roles call for the "soprano C", but the tessitura is lower. Mezzo voices tend to be quite versatile and able to take on a variety of roles with success.
Lyric mezzo-soprano - A higher and sometimes lighter mezzo voice and can have a range up to or above high C.
Dramatic mezzo-soprano ¨C A fuller and often lower voice than a lyric mezzo; can sing over an orchestra and chorus with ease.

Contralto/Alto

Contralto is the lowest female operatic voice, usually with a deep and dark timbre. True operatic contraltos are very rare. Technically, "alto" is only a separate category in choral music where it refers simply to the vocal range.

Male Voice Types:

Tenor

Leggiero tenor - The male equivalent of a lyric coloratura voice, this is an often light and very agile tenor voice, capable of coloratura and able to sing notes above the tenor C.
Lyric tenor - A strong yet not heavy voice.
Spinto tenor - Heavier than a lyric and more dramatic.
Dramatic tenor - A powerful, rich, heroic tenor.
Heldentenor - A rich, powerful, and dramatic voice.

Baritone

Lyric baritone - High tessitura and lighter voice, quite often a comic character.
Dramatic baritone - Lower tessitura than a lyric, rich and full voice.

Bass-baritone

Bass-baritone - Also called "Heldenbariton", a bass-baritone has the tessitura of a baritone but the lower range that is customary of a bass. Bass-baritones play a variety of roles, and frequently play either villainous characters, or regal older men.

Bass

Basso cantante - Has agility but also a deep tone.
Basso profondo - A rich and deep, extremely dark dramatic male bass voice. Operatic bassi profondi are rare, and these roles are sung by most operatic basses.

http://en.wikipedia.org/wiki/Voice_type provides in-depth descriptions of the different voice types as well as the roles or characters.

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At the beginning of this lesson we started by doing a english exam to show on which level we are. After this, we rehearsed our scenes, then in tutorial we have finished our english and maths tasks because is as equal important as acting.

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Given circumstances are what Stanislavski believed we should do as soon as we have been given a script, given circumstances are what help you answer the six fundamental questions (who, when, where, why, for what reason and how).

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The given circumstances are the information about the character that you start off with and the play as a whole. How old is the character? What’s their situation in the play and in relation to the other characters? Are there any notes provided about the play and its characters? Such notes and stage directions may not tell you everything you need to build a character but they are the starting point from which you’ll work to examine the other questions.

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STANISLAVSKI AND HIS METHOD.

Russian practitioner, Konstantin Stanislavski's ideas are very influential. He believed in naturalistic performances that were as realistic as possible, and invented techniques that you can use.

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Play: how to succed in bussiness without even trying.

Pitch- low group.

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Play: how to succed in bussiness without even trying.

Pitch- low group.

Lyrics:

There's no coffee!

No coffee?! Ohhhhhh!

If I can't take
My coffee break,
My coffee break,
My coffee break...
If I can't take
My coffee break,
Something within me dies.

If I can't make
Three daily trips
Where shining shrine
Benignly drips,
And taste cardboard
Between my lips.
Something within me dies.

Dies down and something within me dies.

No coffee!
No coffee!
No coffee!
No coffee!
No coffee!
No coffee!
No coffee!
No coffee!

That office's light
Doesn't have to be florescent.
I'll get no pains
In my head.

That office chair
Doesn't have to be foam rubber,
So if I spread, so I spread.
But only one chemical substance
Gets out the lead.

Like we said?
If I can't take
My coffee break,
My coffee break,
My coffee break...
If I can't take,
My coffee break...

Gone is the sense of enterprise.

All gone and something within me dies.

No coffee!
No coffee!
No coffee!
No coffee!
No coffee!
No coffee!
No coffee!
No coffee!
No coffee!
No coffee!

If I can't take
My coffee break.

Somehow the soul no longer tries.

Coffee, coffee...

Somewhere I don't metabolize.

Coffee, coffee...

Something within me ...

Coffee, or otherwise...
Coffee, or otherwise...
Coffee, or otherwise...

Something inside of me...
Dies!

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

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Today's lesson we divide the script into different units which is a really easy way of learning lines which we did learnt and we also highlighted the most powerful words to make them more direct. In this video we will show the differences between saying the most powerful words  giving impact and the opposite.

Therefore, in dancing lesson with our partner in chair duets performances we had to discuss about what we did wrong what we can improve or add, we can hear an audio of this feedback in the column of  'Movement task'. Where we have to ask to our selfs:
+ Do we use gesture about standing and sitting, creating a sort of relationship?
+ Can we exaggerate the movements?
+ Do we use touch?
And we must add this tasks and skills into our performances.

For the last of the day in acting lesson with Neil helped us to get inside actors life thinking what we did today, what we did well or wrong what we can add or improve or remove. What we have to be thinking to do our scenes. We warm up by walking around having eye contact with everyone transferring emotion, connection, this is important because then we will get into other feelings or emotions we can receive their emotions by eye contact, which is called outside in and stanislavski is inside out, which shows physicality and help us to transfer pour voice.
We also have to take lines into numbers from 1 to 11,  and also directing the lines to the head, hurt and belly.

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Today we got Singing lessons, where we learn about:
>Pitch - The quality of a sound governed by the rate of vibrations producing it; the degree of highness or loneness of a tone.
> How do we create it? When we can determined only i sounds that have a frequency that is clear and stable enough to distinguish from noise.
>The Resonances:
+the mouth
+ the throat  (pharynx)
+ the nose and head sinuses (spaces linked to nasal (passanges))
+the chest
+the aryepiglottic sphincter        (wang)
>Air presssure
>Stronger Vocal Fold Contact (muscularity).
>Vibrato
>What is good singing?
+ the singing is in tune
+ the voice sounds free
+ the voice sounds clear
+ there is a wide range of pitch without strain
+ the words are district
+ the meaning and emotion of the song are communicated

In this lesson James showed us she effect of to much air pressure in singing which give the effect of a brake voice which teach as on not rely on air to make our voices sound louder.

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As normal, we starting the lesson with warming ups where we do jogging, imitating animal sounds and we play a game where we have to get into this parts of the stage as they orderer us to move into those places and the last one lose.
( http://1.bp.blogspot.com/-btFl5ButlK8/Vn1AAb0k6DI/AAAAAAAA-uc/IOUAThWOAdY/s1600/stage%2Bpositions.jpg)

Afterwards, we made 2 equal teams named A's and B's and made a line in front of each other and we put a chair in the middle of it. Then our director had to choose a team for example A and a number, so this person has to go to the middle and get under the chair using imagination . Ones you are in that position you hold it and that chair how ever you decide to get under it and then your partner from the other team with the same number must get in and scene improvised.
We also continue rehearsing  our scenes performed in my case was Mercy Fine from Shelley Silas. Its true that by this time we should had learned our lines but we had a method to learn them which we will be explained this Thursday.

Also we play changing our characters so we could see how different ways can be acted and also to get inside the play not just our own characters, this helped us also to give feedbacks to each other of how will look better and what we need to change. W e also watch our recordings to see our physicality in action and to corrected for example sometimes it looks so much movement like the pace isn't exist but in others we need more movement.

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We rehearse our improvisations scenes, at the beginning was difficult because we had to give emotion to the new scene but at the same time relate it to the original one. I think we got a beautiful improvised script and to had learned the lines of it also helped us to recreate more bigger movements and develop our acting skills. For next time we should have more pace, i do believe it could look better if we dont speak too fast.

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26/09/18

Why dynamics are used in dance? Dynamics add texture, colour, interest and variety to a dance and can help to show the dance idea, the mood or the atmosphere of a dance more clearly.

I found this document about dynamics in dance which helped me to improve developing tasks

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Here we got an example video and explanation of what is proximity referring to the dance.
Australian Dance Theatre return to Melbourne after a 10 year gap with Proximity, which combines dance, videography and optical illusions. During the performance the dancers film each other – magnifying and distorting the choreography as it is broadcast on screens at the back of the stage.
• ADT's Proximity is at Arts Centre Melbourne's Playhouse August 15-18

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Australian Dance Theatre return to Melbourne after a 10 year gap with Proximity, which combines dance, videography and optical illusions. During the performance the dancers film each other - magnifying and distorting the choreography as it is broadcast on screens at the back of the stage.
* ADT's Proximity is at Arts Centre Melbourne's Playhouse August 15-18

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Proximity by Australian Dance Theatre - video

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Australian Dance Theatre return to Melbourne after a 10 year gap with Proximity, which combines dance, videography and optical illusions. During the performance the dancers film each other - magnifying and distorting the choreography as it is broadcast on screens at the back of the stage.

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In here we can appreciate one of our warming ups activities. I will leave more links of our warming ups.
https://www.youtube.com/watch?v=q7NC84ojjGE

https://www.youtube.com/watch?time_continue=2&v=YpXCzgHS42A

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20/09/18

This video show us the use of:
+Balance as the ability to maintain the center of gravity of the body.
+Lifting as is an important technique across dance styles. With diverse modern choreographies, lifting is an increasingly common technique not only for males but for female dancers as well. The act of lifting is often described as giving the partner grace and the impression weightlessness as they float through the air and in this video we perceive the freedom body movements feelings and make the audiences engage.

+Proximity it show us how close or far are them from each other co-performers which  can be a source of very powerful impact for the audience.

+Dynamics in this choreography make the dance look beautiful and powerful to project to the story to the audience without the need of being in the ground.

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Today's lesson we talked about the breath support system/ Anchoring/ Larynx & Voice Qualities. Here I had some of my lesson notes. After we rehearse the song,                                         "No coffee- how to succeed in business without even trying" and I could see how the breath support the system.  It was hard for me to complete one of the warming up activities where  we have to sing  following the piano pitch   with the lyrics,
Chicken Tikka, Mango Chutney and a Pint of Lager...Chicken Tikka, Mango Chutney and a Pint of Lager...Chicken Tikka, Mango Chutney and a Pint of Lager. We can listen here the song:
https://www.youtube.com/watch?v=ArdZ82KCnqA

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We create an improvisation new scene part of our scripts which in my case was " Mercy Fine by Shelley Silas", my partner Rebecca and i about what would happened after the scene we got. We decide to continue the intense conversation and relationship between both of the character, as we can see they got a good and bad relationship as Frehia seems the one who always try to calm the situations and Mercy the person who is always stress, we decide to change this feelings between both and we create this end of the scene.

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We started our day with activities for warming up, for example the numbers 1, 2, 3 ,4 and 5 with each number a representation of a movement. Then we rehearse the script that Darren gave us and we had to research about our play, scene and characters. We also make a list with our given circumstances, question to the things we don't know and answer our own questions.

Also we had to create an new scene improvised from part of our script.

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(Day 10)
Today lesson of Performing art
Today we started the lesson by warming up, jogging,
running and doing some drama games, which where:
-Call the opposite game,
jogging when director said stop, and stop when he
said jogging, jumping touching the sky when he said
the opposite and going down when he said jump,
meanwhile we walk in different directions in the room.
- We had 20 seconds to present our names
to each one.
-we had 20 seconds to touch with our elbows to each
elbow of the rest of our classmates.
- We play to a game where we had to present our
names and all of us repeat them with energy so we
can learn our new classmates. After this in the same
circle, we start to play a game that not everybody
understood, consist on the first person to start have
to make eye contact with another person and walk to
him/her and the other person must do eye contact
with other person so this third person has to call her
name so the 2r person can start walking towards 3r
person before the 1st get her place, and repeating
this process with all of us.
- At the end of it we suit our self in groups of 5 or
6 persons where we had to write in a paper 10
rules of how we can be professionals. Later we all
presented them and we wrote them in the whiteboard and
we agree with all of them.

(Day 11)

Today we had signing lesson, in it we first started by researching how the voice works, i will update in here a picture of my notebook notes about this subject. After this we starting warming up our voices with  simple activities such as:
+Following the piano note by singing "A" , "ñe" and both together.

+Then we had part of the scene of a musical called " How to succeed in business without really trying".
In pares we had to read this part of a song in a way that doesn't sound singing it.
Later our task to research of this musical was:

*What is about?
*When was done?
*By who?

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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.