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-Overall: There was a lot of laughs, transitions were smooth and queues were all on time except for one minor prop situation but the situation was easily resolved it we improvised while on stage so the prop was included in our lines.

-My favourite part of our performance was my lift as Aphrodite. The lift took many attempts to become successful but we benefitted from it very much as it was very successful. We ended up by having Aphrodite in the middle of a triangle formation with two cast members either side of me and the other two in front and behind. The two actors supported me by seating me on both their shoulders whilst the cast member behind was given the responsibility of supporting and spotting and risk of safety. The lift consisted of a gentle rise into the air and then a few steps forward where I am then placed lighting back onto the floor.
This was definitely the most visually pleasing part of our performance. 26 - P5

-One of our main targets were to get the children to laugh at the comedy in our piece. We hit our target because the 8-10 year olds laughed and enjoyed our performance. This is good because we thought the funnier the performance is the more they will enjoy as they are 8-10 year olds.

-The audience were engaged in our performance because we performed first therefore they were excited.

-In terms of my individual performance I would say that I projected my voice well and spoke clearly to the audience. My characterisation when I played Demeter went well because I made it clear that I was not Aphrodite anymore, I did this by making the tone of my voice different compared to Aphrodite. I also made my body language more motherly and rushed when she finds out that her daughter Persephone was talking to a boy (Hades).

-We did not have much time to rehearse the ending of our piece because it was changed last minute due to last minute feedback about us needing a clear summary at the end and scrapping out our gameshow ending, therefore we did very well considering we had only rehearsed the end twice.

-One piece of feedback we received before our final was to pick up the pace on cues especially when it came to transitioning between scenes. We solved this problem by almost overlapping scenes so there were no awkward gaps where cue were late, therefore this is effective to keep the attention of 8-10 year olds. 29 - P6

-In terms of our commitment and professionalism I can gladly say that we stayed very consistent throughout the creative process. I can say that we have had days where cast members have been absent or people have been drained, therefore some days were less productive.

-Another piece of feedback we received was about how they enjoyed the juxtaposition of the whole piece being quite fast paced compared to Poseidon's slow paced monologue.

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Research Project-Key features of physical theatre

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Research Project-Key features of physical theatre

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Physical theatre can be defined as a type of theatre that emphasises movement rather than language at its most basic level. However, the genre encompasses a wide variety of art, therefore there are numerous varieties. Physical theatre, on the other hand, is defined as anything that places the human body at the centre of the storytelling process. As a result, the style is frequently abstract, with stylised and realistic movement. Such performers utilise very little or no words while expressing thoughts choreographed through movement. 26 - P1

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Complicite physical theatre company

The Company is famous for making its work through extensive periods of research and development which brings together performers, designers, writers, artists and specialists from diverse fields to create the works – a process now known simply as ‘devising’.

Complicite focus on a collaborative devising process has meant that Complicité has also become famous for a distinctive, visually rich stage language, which layers physically beautiful performances and tightly choreographed ensemble work with innovative lighting, sound and video design.  26- P1

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Audiences inspire Gecko's work, which examines and reflects problems that are pertinent to today's varied society; they aim to speak directly to the individual and have them completely connect with the content. They want to break down as many barriers to participation as possible for as many people and cultures as feasible. Their goal is to have audience members to have a one-of-a-kind, high-quality theatrical experience. mime based. Gecko wants audiences to experience a unique, high quality theatrical experience.

Gecko uses physical improvision to create their stories. 26 - P1 & M1

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26 - M1

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In the first lesson our potential idea was to do our piece based on Greek mythology, this is because 8–10-year-old children will roughly already know Greek mythology because of Primary school. As a group, we could simplify our storyline, so it is easy for the children to understand and enjoy.​

As a group, we thought of using different Greek Gods to tell multiple, different short stories (with morals) that may all link. Emily thought it that it would be a good idea to not literally include Zeus in our performance but have the idea that he is maybe dead or has left for a while and is leaving someone in charge, but the Greek Gods argue about who deserves it more by telling their story.​

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We all individually chose a Greek God that interests us and then we can research the Greek God of our choice and bring information about our choice by next lesson and discuss as a group what we each found out. ​

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We also thought that as another option we could include "Pandora's box" which would not include Zeus. ​

Our main idea after the first lesson is to have the competition between the Gods for Zeus' position. They could be gathered discussing Zeus (perhaps he is dead or has left?) and the explain why they think they deserve to take his place as leader by telling their shot stories.​

By making it almost a competition between the Gods, it almost makes it relatable for the children because children normally like to argue about things and make everything a competition. This will also be relevant by January as a lot of kids like to make it a competition about who got the the best or most presents over Christmas.  By also including multiple short stories it will enable the young audience to stay concentrated on the storyline and not lose focus.​  29 - P2

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At the start we wrote out achievable goals for each week as a rough guideline for where we should be in terms of rehearsal.

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Teonie- Aphrodite, God of love and beauty

Evie- Hades, God of the dead and King of the underworld

Emily- Persephone,

Jack- Poseidon, God of the sea, earthquakes and storms

Douglas-Aries, God of war

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As a group we thought it would be a good idea to establish the first scene of our performance. Evie and Emily had the idea of having all the Greek Gods come on to stage arguing and shouting with each other, this means it will engage the primary school children straight away because of the instant conflict. ​In this first scene the gods think of way to decide who deserves to take Zeus' position as leader

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By this lesson (28/11/21) we had to develop another scene. The scene we worked on is Aphrodite's short story. We brainstormed how we can use physical theatre in our piece and the scene we were specifically working on. In this scene we created the sea by creating a canon of waves using our bodies as the waves because Aphrodite arosed from the foam of the sea. After the creating the sea I (Aphrodite) performs a short monologue to the audience. I thought it would then be a good idea for us to brainstorm what I could mention in my monologue, Evie then suggested that we create a mind map for our ideas.​

We then thought it would be a good idea to have some silent physical theatre going on in the background as I am explaining who I am as my character and my powers. This then enables everyone to be involved and keep it entertaining as I am talking because 8–10-year Olds could easily get bored, therefore if at the same time there is little action in the background it will be sure to keep them engaged. I will also deliver my short monologue very slowly and clearly, so the children understand easily. My character is also presented as very feminine and gentle, there I must convey that in my physical and vocal skills.​ 29 - P3 26 - P2

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More detail needed here Teonie. What is this and what does it show?

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By this lesson (02/12/21) we thought that we should not continue with our idea of having a chair duet sequence in the background while I perform a short monologue because it could be difficult for the children to understand therefore it might not be clear to them of what is going on. Instead, Emily thought it would be a good idea to have two sets of fighting couples interrupt my short monologue and I slowly become annoyed which is unlike my character because she is normally very calm. I (Aphrodite) will then snap my fingers and make them fall in love again. We performed this little scene Infront of our teacher and she said that when I snap my fingers to make the couples fall back in love, it should be shown very clearly by the couples instantly having a deep desire for one another and showing a lot of affection to convey how powerful Aphrodite is. ​

We developed Aphrodite's short story by also adding another example of how she can make people fall in love. This is shown in a park where there are strangers and  Aphrodite is going to make some of them fall in love, at least attempt to because the first pairing she does, does not work therefore she rewinds time and chooses a different pairing. For a lot of this I will also be talking to the audience about what I'm going to do and I'm going to be getting excited when I see that one of my pairing works. I think that next lesson we need to try and incorporate physical theatre into to Aphrodite's short story as the only form of physical theatre we have is the waves of the sea at the beginning.

We decided to start thinking about our next short story and that we can incorporate more physical theatre into that. 29 - M2 & P3 & 26 - M2

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We decided to do Aries' story next because to end Aphrodite's short story Poseidon interrupts her and says "is that really all you do?" and I say "well yes, I make people fall in love and I fell in love once to you know" and then Aries walks in. Aries and Aphrodite used to have a relationship therefore she still has a small crush on him.

As a group we thought it would be a good idea to portray Aries as a "dumb jock" type of character because he is the God of war so you would think that he is very muscular and smart.

For Aries’ story we incorporate physical theatre by creating a pot that he break out of. We do this by having to people stand on a chair facing one another and then have to people and each of their side to create a semi circle with our arms up to convey the pot.

When he says he breaks out the pot we turn into the glass and smash, using sound and physical movement to fall to the floor as the glass. 26 - M2

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Hades and Poseidon  have a joint story as they are brothers. We use physical theatre by creating a mouth since hades and Poseidon escaped their dads mouth. We do this by having two chairs face each other and then me and Douglas sit beside the chair using our arms to create the mouth where we both rise as they enter where we still use our arms to convey the mouth. 29 - P4

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In Persephone's story we create a busy market with vocal projection to really create a sense of urgency and bustle.

At one point we become trees in the forest that Persephone and hades agree to meet. We walk on as enchanted trees, using sound to create a sense of magic. We do this by using our physical theatre skills and portray ourselves as trees using specific movement that is quite flowy. 26 - M3

Shortly after becoming trees and walking off we were caught spying on Persephone and hades, we create a line of the gods. Aries, Aphrodite and Poseidon. We use the curtain and Poseidon is on the ground peering through the hole and then I (Aphrodite) is in the middle standing above Poseidon so therefore Aries stand on a chair and peers through the hole. So we all comically have our head appear when hades and Persephone are having a romantic moment, therefore we interrupt them. Reference your target audience here. Comedy intended for that age etc.

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In this scene we were working on creating a tree for one of our scenes. What was you physical theatre influence here?

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29 - P4

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In this lesson (25/01) we decided to try figure out an ending to our piece. We decided that it after oacenfinys’s story we all end up back in the same places as we did at the start. As Aphrodite and the say well what now? This is where it turns into almost a gameshow. Douglas is the ‘host’ and says present all the Greek gods. We all form a lin, one behind each other and they present themselves to the crowd where we then form a line side by side. The audience is meant to cheer the Greek god they think deserve zeus’s place the most. We did think about what If the children don’t vote and just stay silent that we need to have a back up plan. So next lesson we will develop w back up plan.

Next lesson we also need to try cut any unnecessary parts to the production as a whole because our piece is in fact quite long. So we will cut any unnecessary dialogue for example. 29 - P6

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Structure
Most stories have a beginning, middle and end. In the beginning, the characters and setting is established. In the middle, there could be a conflict and a problem to solve. At the end there could be a dramatic rescue. The ending then could be happy or sad.

Characters
The characters normally have descriptive names which tells the audience about their character and looks, for example- The Little Red Riding Hood and The Big Bad Wolf

Setting
They are frequently set in a forest or in the countryside. From time to time, enchanted castles and beautiful cottages appear.

Style of stories
Often a traditional story won’t have much of a moral lesson, but that doesn’t mean it’s just for fun or entertainment.  29 - P1

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29 - P3

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Class feedback on performing a small part of our piece

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Class feedback on performing a small part of our piece

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From this feedback, we figured that we need to enhance our performance as our characters and make the characterisation bigger and clearer. For example we can do this by coming on as trees so we are already in character.

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In today lesson (27/01) we started by rehearsing the end of our piece. We ran through the whole piece including the end and timed it it was 22 minutes which was good but we are still looking at parts of which we can cut it down.

We also thought about music. We found a song that we could use for Aphrodite’s scene where she rises from the sea foam, called lujon by .
When the music exceeds I rise and then the wave forms around me and the music continues playing until we transition into the next scene. What made you choose that piece of music. Explain your choices. 26 - P4

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29 - M4

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In today’s lesson 03/02/22, we discussed using light and sound in our piece. We thought about the queues for when and where we use music.

We also got some feedback from Zoe and she said that we need to be bigger with our characters, so we need to establish our character more and clearly.

For my character Aphrodite I am going to make her appear more relaxed and the peacemaker of the group, while also seeming almost seductive and loving. I also need to project vocally and make my body language bigger and more dramatic. 29 - P5 & 26 - P4 & M4

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Little Red Riding Hood would be age appropriate for 8–10-year Olds as it is a children folktale story. The story would also be engaging as there is “the big bad wolf” which would be entertaining for children to watch. The wolf could even be interpretated in multiple ways depending on the age of the audience, for example, if the audience were older, instead of trying to make the wolf seem “scary” you could take a comedic approach to the character of the wolf. The story could also be educational for young viewers because you could put a spin on the story, for example the “bad” wolf could actually turn out to be nice and a good character, therefore the moral of the story to the young audience could be “don't judge a book by its cover”. This story would offer a theatre enough creative options because of costume and characterisation, this is because little red riding hood wears her iconic red hood, there is also her grandmother and a wolf. Characterisation can most definitely be explored depending on the age of the audience. The story could also be modernised. There are many creative options with this story. 29 - M1

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08/02/22
Today we agreed to incorporate a lift in our piece as a form of physical theatre. We then thought that a lift could fit in Aphrodite’s scene when she rises from the sea foam. We figured out a few ways we could do the lift but we figured out that I (Aphrodite) will sit on Douglas’ and jack’s shoulders where they would then lift me up and then slowly put me back down where I then perform my short monologue. By incorporating a lift it conveys use of physical theatre and is a good way of making it seem as though I really did rise from the sea from at birth which can be entertaining for the children.

Frantic Assembly creates thrilling, energetic and unforgettable theatre. Frantic Assembly are skilled in lifts, leans and weight shifts. They believe that lifts convey a exclamation of emotions. Therefore by using a lift in our piece it conveys how graceful and Aphrodite is and how even her birth from the sea foam is graceful. 26 - M4

We also rehearsed on the stage where we could figure out proxemics. We realised that we also need to really project while being vocal on the stage because we realised that you have to while up there.

We are also figuring out queues for when we are meant to be on and off stage. These have to be vocal queues though because we won’t be able to see what’s happening on stage when we perform to the children.

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Myths are stories that are based on a civilisation's traditions or legends; they frequently have a symbolic significance and feature a moral or lesson for the audience to absorb. Myths often have fantasy aspects, such as animals and creatures, spells, curses, and strange occurrences. Thunder and rain are examples of natural phenomena that are sometimes explained using myths. Hercules and the Minotaur (Greek), Thor's Hammer, and other popular stories (Viking). 29 - P1

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Characters are involved in a conflict or problem that is universal and relatable to real life.

Problems are resolved with happy endings (fairy tale ending).

Place is imaginary or of another world or universe.

Characters and objects can have special powers. Magical objects, magical spells, fairy godmothers and wicked witches

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In today's lesson we got feedback on the ending of our piece, our teacher said that the idea of our piece ending with a game-show feels very rushed and random and could seem confusing for the 8-10 year olds, therefore we had to come up with a another idea.

Our new idea was was simpler and less random. It would end with me saying that we have all told our stories but what now? This is where Aries puts on Zeus' crown while all of us tell him no, don't do it. He then puts the crown on and a recording of all of us in a deep voice saying "who stole my crown?" plays with a thunder effect. This is where we all freeze and Aries wraps up the performance by giving a quick summary of each character.

By giving a small summary at the end it means the 8-10 year olds are not just left with all of the characters running off stage away from "Zeus". Instead they are left with a simple ending and a brief summary. 29 - P5 & P6

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-A Legend has a narrative of human actions that are believed by the storyteller and the reader/listener to have taken place in human history.

-Legends have a specific setting, a time, and a place. They often include beliefs and ideas of a culture.

-Legends transform over time. Facts will change or be stretched, hyperbole will enter the plot-line and colorful details will remain and/or get more colorful.

-Legends evolve over the years and are kept fresh, lively and exciting.

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I have gotten feedback on my performance and it has been said that i need to project more and make it clear when i multi-roll that i am playing different characters, therefore i need to work on chracterisation so I could use a accent to convey Pacefinys mother and different body language compared to when I play Aphrodite. 29 - M4

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As the goddess of love, Aphrodite has more power to sense, inspire and control the emotions of love and sexual desire than any other god. Her powers have been demonstrated to be powerful enough to influence Zeus himself.​

Her powers have been demonstrated to be powerful enough to influence Zeus himself.​

Despite this marriage to Hephaestus, Aphrodite had many lovers. Her lovers include both gods and men – including the god Ares and the mortal Anchises.​

Many gods believed that her beauty was such that their rivalry over her would spark a war of the gods. Because of this, Zeus married Aphrodite to Hephaethus – he wasn’t seen as a threat because of his ugliness and deformity.​

Aphrodite and her son Eros (Cupid) teamed up to cause Zeus to fall in love with a human named Europa.​

Child of Zeus​

Two stories explain her birth- daughter of Zeus and Dione - rosed at the foam of the sea

Props to represent Aphrodite:
Mirror, rose, dainty jewellery

Physical skills to represent Aphrodite:
Light, graceful body movement
confident gait and body posture

Vocal skills to represent Aphrodite:
Soft, gentle tone of voice

29 - M1

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In our piece we create a wave for Aphrodite's "birth". We do this by moving as one while also using our vocal skills to create a soundscape of the sea. In one of our lessons we were doing a Frantic Assembly exercise where as a whole class we create waves of a normal, calm sea and then once a rhythm was developed we changed the atmosphere of the sea-mid, stormy, high tide, etc. 26 - M2

Another exercise that links to our piece from Frantic assembly is moving as one. We completed an exercise where move as one while music is playing in the background and then we all have to stop walking when the music stops. This exercise  means we could also figure out how to move as one and work out how to do so successfully. 26 - M3

In another lesson we explored subverting the obvious from a character. By this I mean breaking away from stereotypes when it comes to characterisation. For example- The strong princess, The Misunderstood Witch and The careful king.
In our piece Aries is the God of War, therefore he is supposed to be stereotypically strong and smart, however in our piece Aries is presented as a "dumb jock" by this I mean that he is strong but he is also portrayed as being dumb and clueless throughout the piece. This goes the same with our character, Hades, because as one of the main Gods and being the God of Hell, he is normally quite tall and mature whereas in our piece the actor who plays him is short and is portrayed as very childish. 29 - M3 & P4

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In one of our lesson we made a short piece inspired by this script. The piece included physical theatre movements such as round by through. We included round by through in our chair sequence.