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Tanika Gupta, born 1 December 1963) is an English playwright of Bengali descent. Apart from her work for the theatre, she has also written scripts for television and radio plays.

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Theatre and film maker.
Stage Management Diploma

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Chair Duet - Movement lesson with Stephen

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Chair Duet - Movement lesson with Stephen

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Stephen’s lesson helped me to develop my own body, to explore it. I created my own world through movement. I understood how much is important the body language, how it can tell us everything about a person, without saying anything. Body language represents a language which tell you facts that words can’t tell.
At movement lesson I warmed up not only my muscles and body, I warmed up my soul and brain. I had to imagine how my body is changing itself in different situations.
As a conclusion, I understood that I need to improve some skills: trust, exteriorizing entire world, balance.
Trust – this skill looks easy but this is the most difficult skill that I have to improve. I understood that If I want to succeed in teamwork or duet work, I need to trust my partner, otherwise we will fail or we’ll have bad consequences.

Balance – If I will trust my partner, we’ll go easily to the second step - balance. This level is realistic as long as I have trust. Balance is available not only for teamwork but for solos as well. We don’t need big muscles to do big things, we need balance.

Exteriorizing my entire world – Dancing is the most beautiful way to exteriorize and show my entire world. I would like to improve more this skill because I’m still disappointed with my skills. I am not confident about what can I do with my body. As long as I will have trust and balance, I’ll easily exteriorize my entire world in every single way.
Here I attached tasks that I had to do for next lessons (there are included impressions about lessons and reviews about videos)

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INSIDE OUT ( Characters casting, reviews, director)

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INSIDE OUT ( Characters casting, reviews, director)

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Inside Out evolved after a three-month stint, running writing workshops at Winchester Women's prison.

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How can crime and punishment affect a family? Inside Out is simply a story of two sisters.

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Fundamental questions about Diana and Affrodita.

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Fundamental Question & Given Cirscuntances

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L3 Toolkit 20/9/2018 Chair Duets Performances

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L3 Toolkit 20/9/2018 Chair Duets rehearsal

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This chair duet is performed by Kirsty Oswald and Richard James Neale. In this video the performers shows a relationship between a couple. They tell the story through their movement. The body language of both of them and the synchronization of the performers is appreciable. They tell a full story without any acting moments or any dancing moments, it is all about the message of the moves. I am impressed of the chemistry between them, even they have no emotions on their faces.

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This video proves us how important is trust, dynamics,  balance and lifting for a movement performance.

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For UAL Level 3 Performing Arts audition I prepared this choreography. This choreography renders about a war between Social Media Life vs Real Life.
In our days, social media is the most important influencer for us. Being bombarded with images of perfection, perfect bodies, perfect make up, perfect faces can leave people feeling quite down about ourselves because we're mislead to believe that this is reality. We forget about who we are, where we're coming from and what are our goals in life. We're always staring at a screen and not mindful of the people that we're with and we're too attached to our gadgets. In this way we start to wear masks and we start to not be ourselves anymore.
This is the message that I've tried to sent through my choreography  and I hope that I did.

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SEVDALIZA - Human | Ecaterina Cleis Choreography

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This is my first choreography that I upload on social media.
It is about an entire battle between depressive thoughts and my social life. The message of choreography is about how a right treatment at the right moment can help a depressive person to get healed

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Billie Eilish - Bellyache (Marian Hill Remix) | Ecaterina Cleis choreography

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Ecaterina Cirlan
ID : 175522

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James's lesson about how the voice works gave me a lot of new and helpful  knowledges. I've learned how our body workd during the singing and is important to use our body correctly for a good quality of voice.

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''How to succed in bussines without really trying''  by Frank Loesser

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Give Circumstances ''Inside out'' by Tanika Gupta

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''How to success in bussines without really trying'' by Shepherd Mead information and details.

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''How to success in bussines without really trying'' by Shepherd Mead information and details.

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Act 1 ''Coffee Break'' from ''How to succeed in bussines without really trying''

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Act 1 ''Coffee Break'' from ''How to succeed in bussines without really trying''

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How to Succeed in Business Without Really Trying (Coffee Break)

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"Act Two Finale : Children Will Listen" - Into The Woods (1991)  

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"Act Two Finale : Children Will Listen" - Into The Woods (1991)  

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Sondheim’s ravishingly melodic Children Will Listen is one of his most haunting and inspirational numbers that provides a life lesson for dealing with a frightening world. (The above clip is from the original 1991 Broadway production, featuring Joanna Gleason, Bernadette Peters and Chip Zien.)

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Reflection and Evaluation for Musical Theatre Lesson

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Reflection and Evaluation for Musical Theatre Lesson

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Teacher : James
Date : 02/10/2018

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Teacher: James
Date:18/09/2018

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Reflection and Evaluation Writing Frame (5)

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Teacher: James
Date: 27/09/18

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Date: 09/10/2018
Teacher: James

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Teacher: Darren
Date: 13/09/2018

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Reflection and Evaluation Writing Frame (3)

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Teacher : Neil
Date :20/09/2018

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Teacher: Neil
Date: 13/09/2018

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Reflection and Evaluation Writing Frame (6)

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Teacher : Darren
Date : 17/09/2018

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Reflection and Evaluation Writing Frame (4)

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Teacher: Neil
Date: 27/10/2018

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Reflection and Evaluation Writing Frame (7)

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Play: ''How to succed in bussiness without really trying''

Pitch - low group

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Teacher: Stephen
Date: 05/10/2018

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Teacher: Stephen
Date: 25/09/2018

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Play: Into the woods

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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Into the Woods is a musical with music and lyrics by Stephen Sondheim and book by James Lapine. The musical intertwines the plots of several Brothers Grimmand Charles Perrault fairy tales, exploring the consequences of the characters' wishes and quests. The main characters are taken from "Little Red Riding Hood", "Jack and the Beanstalk", "Rapunzel", and "Cinderella", as well as several others. The musical is tied together by a story involving a childless baker and his wife and their quest to begin a family (the original beginning of The Grimm Brothers' Rapunzel), their interaction with a witch who has placed a curse on them, and their interaction with other storybook characters during their journey.

The musical debuted in San Diego at the Old Globe Theatre in 1986 and premiered on Broadway on November 5, 1987, where it won several Tony Awards, including Best Score, Best Book, and Best Actress in a Musical (Joanna Gleason), in a year dominated by The Phantom of the Opera (1988). The musical has since been produced many times, with a 1988 US national tour, a 1990 West End production, a 1997 tenth anniversary concert, a 2002 Broadway revival, a 2010 London revival[1] and in 2012 as part of New York City's outdoor Shakespeare in the Park series.

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Today Stephen asked us to give a feedback to our group partners.
I've watched 3 chair duets and I gave feedback to all of them.
To my surprise, I always guessed rightly the relationships between the performers. As much the performers trust each other and kept the eye contact, as much I received the right message of the story.

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Born: 17 January 1863

Died: 7 August 1938

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Who? When? Where? Why? For what reasons? These questions help us to know more about our characters, about or script. The answers of these SIX FUNDAMENTAL QUESTIONS also are called GIVEN CIRCUMSTANCES

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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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Why dynamics are used in dance? Dynamics are one of the most important things in a choreography/dance.
They are different types of dynamics. 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 attached down a file with  more information about dynamics.
Why do we nned dynamics in dance and which skills dynamics help us to improve.

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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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I and Grace told a story through this Chair Duet. It is a story about LIFE, KARMA, and DEATH. Life is about a boomerang - KARMA, bright side - life and dark side - death. We, human beings, need to appreciate and pay more attention to those who care about us, who support us in a bad situation and who trust us. Life is a circle, and for every single death, there is a new life which is borning.

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L3 Skills Toolkit Chair Duets Performance 11

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''Inside Out'' by Tanika Gupta  - The Book

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''Inside Out'' by Tanika Gupta  - The Book

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I bought ''Inside Out'' by Tanika Gupta to improvise our script, to know more about our characters and to feel better the relationship between the characters.
Reading this book, I got closer to my character and I started to feel more confident regarding my character's attitude and behaivour.
I would recommend to all those who has to learn a script, to develop more about that script, not only just to play it. When you search more about the script, you get more confident on the stage.

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

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

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MUSICAL THEATRE

1* What idea did you hope to communicate to the audience?
What physical theatre skills or techniques did you use when devising or performing? Give examples.
1**Me and Grace wanted to communicate to the audience the boomerang of life, how life can be a circle, and why we, human beings,need to be more cautious with those who are near us. The story is about a relationship between a mother and a daughter. Mother gives LIFE to her daughter, teaches her how to eat, to walk, to talk etc. When the daughter grows up, she doesn't notice the care of her mother, so she ignores her, until KARMA turns everything backwards. Mother gets old and she ignores the care of her daughter because she thinks she still has power. The daughter helps her mother to walk, to eat, to talk because she is too old and she is not able to do it.
And now, the daughter needs to give birth to her baby and her mother dies.

2*Select 3 moments from your performance that clearly communicated your idea. Describe the moment and explain why they were successful ion communicating your idea.
2** Three moments which describes our idea are those moments when me and Grace say LIFE at the beginning, KARMA at the middle of the performance and DEATH at the end. These 3 moment describes perfectly our performance because we tried to make our performance as an essay with indroducing part, body part and the end. These 3 words describes also the message of our performance, LIFE, KARMA AND DEATH - the rule of 3 words of life.

3*Select 3 moments from your performance that could have been developed further: explain why.
3** In my opinion, we did an amazing job, especially my partner, Grace because she did not dance before and in such a short time we could tell a beautiful story tot he audience but nothing is perfect and I think that we could work more at: trust, lifting and practicing.

4*Discuss how effectively your worked during the rehearsal and performance: did it change during the process? Give examples to support and discuss what you would do differently and why?
4** Me and Grace had only a week to rehearse our chair duet, which in my opinion was a benefit because of the pressure we worked hard and put more effort than we could put if we would have more time. Me and Grace did an amazing team-work which I think is very important in a duet. I had the movement and the ideas, Grace had an amazing support and ideas as well. During a week Grace improved a lot, which shocked me. First times of practicing, Grace was scared of lifting moves, of touching and eye contact but after rehearsing, taking a lot of motivational conversations we did it and we did it great.

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Here are some scenes of me from the short-movie ''The adventures of Alvaro Clemente''
Alvaro Clemente is a student from Media and he did a casting for his short-movie. I passed the casting and I had the role.
It was my first acting performance in front of a camera. I really enjoyed it. It was an amazing experience.

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

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06/11/18
Today at the Musical Theatre lessons, we learned more about children's books and how they are made. We watched "The Gufallo's Child" as an example and at the second lesson we continued doing a research about a kid's story in groups for 3-4 persons.
We had to write about what kind of music we would put in our story and when, we had to discuss the costumes, the settings, to classify the story into units etc.
Our group (Olivia, Virginia, Nelenz and Me) chose "Red Ridinghood" for this task.
Here I attached all our work about this story.

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Our group had as a task to make the lyrics for our story.
I did the lyrics for two characters - Red Ridinghood and The Handsman.