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LC Creative Arts‏ @LC_CreativeArts Sep 17More

Good morning & Welcome to @LC_CreativeArts @LambethCollege @UALawardingbody #theatre #history #scavengerhunt each clue begins #WhoAmI lowest score wins the name of the game is #research and gathering #evidence
0=correct answer
1=clue
2=fail
0=complete task
2=failed task

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Omar Ingram UK
Souis Sullivan uk

Gossano Malone Ang

We were told to respond to the Tweets by DM and include him (Ryan) in the picture. We had to take a picture and include at least two of our members in it and at the same time ensure the place was in it.  We worked as a group to decypher the clues, conferring and consulting each other, and using google to learn things ,

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Venue 1 #whoami I accepted the private collection of Gabrielle Enthoven’s theatre programmes in 1924 = 0 point

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What was the clue that you solved and how did you solve it?
The clue was "I accepted the private collection of Gabrielle Enthoven’s theatre programmes in 1924" So I decided to research Gabrielle Enthoven because I assumed in reading about her personal life I might find a collector who donated her works after she died.

Provide evidence that you were there.

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@LC_CreativeArts at the V&A pic.twitter.com/GYjnxbwgfj
— Louis Sullivan (@LouisSullivanUK) September 18, 2018

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What was the task that you had to complete?

The task we had to complete was "Make a discovery on Greek theatre" which we found by finding the theatre section in the V&A and we found this really cool mask that was created for 'The Mask of Orpheus

Provide evidence of the completed task.

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@LC_CreativeArts the mask from Greek drama, The Mask of Orpheus https://t.co/rgj6HxECKc

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@LC_CreativeArts the mask from Greek drama, The Mask of Orpheus https://t.co/rgj6HxECKc

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@LC_CreativeArts the mask from Greek drama, The Mask of Orpheus pic.twitter.com/rgj6HxECKc
— Louis Sullivan (@LouisSullivanUK) September 18, 2018

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@LC_CreativeArts the mask from Greek drama, The Mask of Orpheus https://t.co/rgj6HxECKc

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@LC_CreativeArts the mask from Greek drama, The Mask of Orpheus https://t.co/rgj6HxECKc

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@LC_CreativeArts the mask from Greek drama, The Mask of Orpheus https://t.co/rgj6HxECKc

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What was the clue that you solved and how did you solve it?

Our clue was "Anne was born here" this meant Anne from our previous FMP 'Attempts on her Life' which was written at the Royal Court

Having studied the play properly, and remembered from last year that Ann/ Anne/ Annie is referred to in a variety of names, and also that the play was first performed there in 1997, we went along with this as a guess.

Provide evidence that you were there.

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@LC_CreativeArts @royalcourt #WhoAmI pic.twitter.com/mxaD8MUUMF
— Louis Sullivan (@LouisSullivanUK) September 18, 2018

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What was the task that you had to complete?

Our next task was to 'Find a flyer for Mark Ravenhill’s next play.'

Provide evidence of the completed task.

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@LC_CreativeArts Mark Ravenhill's The Cane pic.twitter.com/8XkqWggT5X
— Louis Sullivan (@LouisSullivanUK) September 18, 2018

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What was the clue that you solved and how did you solve it?

The clue was 'I point my bow into the heart of ‘Theatreland’
I started by Googling Theatreland as I realised it was an alternate name or 'slang' for a place or area. I originally thought it was Palace Theatre, which was wrong and we were given the second clue 'I am a statue in Piccadilly Circus often called incorrectly by my brothers name.' This was easier as we could narrow it down to a single statue in Piccadilly Circus. So by Googling Piccadilly Circus statues we soon found tourist ratings of Shaftesbury Memorial Fountain, which contained the statue of Eros's brother, which was correct.
Having quickly checked online, it was stated that
"Anteros was the son of Ares and Aphrodite in Greek mythology, given as a playmate to his brother Eros, who was lonely – the rationale being that love must be answered if it is to prosper"
Provide evidence that you were there.

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@LC_CreativeArts shaftsbury memorial pic.twitter.com/TJvxZZFZqx
— Louis Sullivan (@LouisSullivanUK) September 18, 2018

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What was the clue that you solved and how did you solve it?

Our clue was 'I am the home of casting.' I solved it because I remembered a conversation with our teacher earlier in the week where he referred to Spotlight as 'the home of casting' we were also told to take a headshot of ourselves with the logo in the background and make it our profile picture on twitter.

Provide evidence of the completed task.

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What was the clue that you solved and how did you solve it?

The clue was given to us in person as 'The first home of the Old Vic' due to some bad timing in conversation we heard "Mhmmm" to an answer "Sadler's Wells" we gave, so we went to the Sadler's Wells Opera Company's ENO as Google Maps told us it was the closest Sadler's Wells theatre to us.

Provide evidence that you were there.
Realising we were wrong when nobody turned up Goss did some more research and we went to the National Theatre.

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@LC_CreativeArts National Theatre pic.twitter.com/yOKcwrIyKu
— Louis Sullivan (@LouisSullivanUK) September 18, 2018

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What was the clue that you solved and how did you solve it?
The clue was given to us in person and it was "Take a 'walk backstage'" with a secondary task to find two Olivier statues.

We only managed to find one, like everybody else.

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Upload or provide a link to your performance of a Greek Chorus from Antigone.

link to video

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Summary of places to visit and hints that were there 

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Summary of places to visit and hints that were there 

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V and A, started there, Gabrielle Enthoven

V And A, Greek Theatre

Royal Court, Anne was born in 1997

Royal Court, Flyer for Mark Ravenhill play

Shaftesbury Avenue, Theatreland started here. (Bow)

Shaftesbury Avenue, Piccadily Circus

Spotlight, The Home of Casting

First home of the Old Vic, went English National Opera then Sadlers Wells at Southbank, it was National Theatre

Sadlers Wells, National Theatre, went backstage and saw status

Greek Chorus from Angitone,

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is a tragedy by Sophocles written in or before 441 BC. It is the third of the three Theban plays chronologically, but was the first written. It has since been adapted, (1961) and performed innumerable times

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we have been attempting to memorise a script, and practice under the conditions we might be faced with when given an hour in an audition! It is to practice learning lines for later on

We were told to go away from the weekend and practice learning it, as once a script is mastered, it enables us to focus on adding other dynamics to it, such a feeling, emotion ,timing, tempo

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Plot: Antigone was the daughter of King Oedipus of Thebes and Jocasta. The story says, Oedipus, the son of Laius and Jocasta killed his father Laius and became the king of Thebes. Oedipus unknowingly married his own mother Jocasta and had children by her.

There was one production of this in London in 2012 which relied on an interpretation from 1986.
https://www.theguardian.com/stage/2012/may/31/antigone-review
https://theatrelab.co.uk/productions/antigone/

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we were asked on the Friday to memorise a small speech, last about 2 minutes. Today we recited it, and were assessed against a number of critera. We were also assessed last week and so the aim was to improve. I t was useful as we were paired with other people and told to reflect upon how it is that we can aid each other in learning. It was also suggested that more happens when we practically get on our feet and act things out. We explored a number of strategies, with myself, attempting to emphasis audio learning as it is my weaker point.
I spent the night literally listening and re-listening to audio however, I did not settle in my mind. I no doubt, however, believe it aided once I returned to reading the text, as IU was able to master sufficient amounts of the text in under an hour .

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https://padlet.com/ryanhurstuk/27use3zpnj13

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We have been asked to memorise and perform the speech for Monday. Our practice of working in twos will do this as we have been encouraged to get on our feet and also look for people who can offer us constructive feedback on our performance

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Devices are different methods and tools use in theatre to facilitate unravelling the plot and processing the story . Earlier in the week, and the week prior, we explored at least 11 devices, as we were asked to work on a play (or series of scenes) and include these devices

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This centres around ensuring that the performance begins properly and grabs attention. This might be to do with lighting, focus, unison etc . In our party scene with Sam, this was the loud "surprise"

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Mistakes that might be made in theatre include randomly walking off stage or looking to the audience for acknowledgement. Better ends would be to perhaps all bow, curtain closes, lighting adjusts or simply slowing down
"In our scene, this was Sam ending up disappointed following a robbery"

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This might be where a scene freezes or silently continues as a performer breaks from it to offer their commentary or , perspective might be shifted to how the audience is seeing things
In our birthday scene, much of it happens through the lens of Sam who comments and has the audience sympathise with and relate to them

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This might be where an object or even an idea is passed around the crowd, or other performers. It tends to shift the focus.
It was decided that we would use the idea of drama and attention as the thing being passed. A person would be showered with attention and that would prompt changes.

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This is about how the characters embody the scene and absorb the focus of the audience. It places more emphasis on voice. Much is made out of movements between people as they play between intimate space and personal space to explore depth

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This refers to silent movement or movement with minimal sounds. It is about exaggerated moves whilst a gesture is simply a movement with a meaning . There was not much exploration of this device in our scene

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The Following Devices equate to what is called the stage picture, or, what the audience sees

- Mime and Gesture
- Movement and Physicality
- Body Language (Posture)
- Proxemics

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This refers to how close the characters are to each other; it refers also to how their gestures get read in the context of a scene

we have explored this by looking at how it is we stand in relation to the character of Sam

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This is the tone, pace, tempo, pitch, emphasis or accent used. There are so many ways in which this can be used to alter the relationship to space, to represent a status, or even convey emotions

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This is an old style of theatre which uses numerous devices, such as echo, repeat. In our piece it was used during the party where the bystanders create a soundscape which has a large party atmosphere

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This refers to a device where the actor walks down an abstract valley and has others vocalise what they are thinking or feeling . There are different ways in which this can be explored and unpacked

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source

https://www.theatresonline.com/theatres/west-end-theatres (all in West End)

https://www.londontheatre.co.uk/theatres (all in London)

Aldwych

Ambassadors

Apollo

Arts Theatre, Great Newport

Barbican

Bloomsbury

Cambridge

Charing Cross

Criterion

Dominion Theatre

Duchess Theatre

Duke of York Theatre

Fortune Theatre

Garrick Theatre

Gielbug Theatre, opened 1906, a pair with Queens theatre

Harold Pinter Theatre

Her Majesty Theatre

London Palladium

Lyceum theatre

Lyric Theatre

New London theatre

Noel Coward Theatre

Novello

Palace

Phoenix

Piccadilly theatre

Prince Edward

Prince of Wales

Queen theatre

Royal Court

Royal opera

Savoy theatre

Shaftesbury Theatre

Soho

St Martins

Theatre Royal Drury

Theeatre Royal Haymarket

TrafalgarStudios

Vaudeville Theatre

Wyndham’s Theatre

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“The Mask of Orpheus. The Mask of Orpheus is an opera with music by Harrison Birtwistle and a libretto by Peter Zinovieff. It was premiered in London at the English National Opera on 21 May 1986 to great critical acclaim” Orpheus was a legendary Hero in Greek Theatre. The fact that his mask was used in theatre and performance changed things. In history, greek theatre would use maks to identify themes of either tragedy or comedy, however, as american comic George Carlin once remarked, the two are thoroughly intertwined.

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Tuesday

Summary

We began with a few games to get us warmed up, then proceeded to split the group and work on exercsies

Today we worked on numerous pieces of theatre and devices

we did a long vocal warm up with words

the group was to work on Sam's birthday

There were 3 stages to a robbery

We had to describe someone who was not there

it was announced that there would be warm ups from now on, and also, that there would be a workshop on the Friday morning when we are otherwise not in .

Discovery
Development
Reflect
Evaluate
Research

we were introduced to a few more devices as well as a breakdown on how to write

Discovery (Learning)

Development (consolidation)

Reflect (rehearsal)

Evaluate (performance)

in the previous weeks we have seen

Strong Start

Convincing End

POV

Plot

Baton Passing

Mime and Gesture

Props

Conscience Alley

other devices include

Body Language / Posture

Movement / Physicality

Chorus

Voice

the new devices include

Flash Back / Flash Forward

Transition

Backstory

Semiotics

Multi Role

Cross Cutting

Proxemics

Discovery

We revisted the birthday scene with Sam , in which the brief asked that we take them through a number of complex emotions as they wrestle with anxiety. This time, unlike last time, we were asked to draw upon the techniques and strategies that we had been developing throughout the day. We were grouped with different learners from across the levels, and asked to devise a scene that would be ready for performance in the evening / afternoon session. This required us to think through the piece , using storyboarding, before finally , once we had all the scenes, deciding how we were going to arrange them.

Development

After we had all our scenes, it was decided that we would ultimately have 4 scenes, but 5 acts.
1 hall way
2 the sick party
3 hall way (handing out flyers)
4 final party (conscience alley)
there was also initially going to be another scene , where Sam is walking to their party, anxiously, but this was scrapped in favour of merging this into the conscience alley of the fourth scene.

There was a mention of devices as we were told we would have to use flash back and transitions, and so, someone came up with the idea of folding for  a four count, as well as banging a drum to prompt a transition between scenes.

Reflect

Our rehearsal covered a lot of ground however our bigg4est weakness, which became evident, at the end, was that we failed to properly consider how it was the audience would see it. A number of our scenes were premised on the idea that the audience would be in a set place, when actually, they were seated alongside the camera. It was later revealed that the best thing to do would have been to alter and shift the audience to match our perspective, only, this was a much later consideration.

Evaluate

The biggest problem with our performance was our failure to properly consider the audience perspective. We had a lot of useful devices includes such as semiotics (the symbolism of pills which reoccurs), and cross cutting (had the scene of out sync), as well as transition (using a mixture of slow motion and dramatic effect), and flash back, but these were not properly explored, and more could have been done to explore them.

Summary

The birthday party plot with/of Sam was to use the following themes / aims:

1.             Sam’s birthday - anxious

2.             Abstract phase

3.             Dilemma – consequences

4.             Journey – correct mistakes

5.             Past & Future

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We were introduced to these additional devices and had to recruit them throughout the day

Flash Back / Flash Forward

This is when we transition to a scene outside of the usual, logical sequence, before returning to the original or current scene . In our party scene we moved through four scenes using the flashback of another party right before a present day party

Transition

This is the process of moving between scenes, and doing so in a cool steady manner which doesn't interrupt the plot of the story . In our scene we used a drum beat to pace the scene and mark the point of change

Backstory

this refers to characters entering scenes with a prior history, and builds upon the idea of asking what a characters motive, intension or relationship is; we did an exercise where there is an argument which eventually develops to explore something unsaid but that is eventually revealed as the key issue to the argument

Semiotics

this is the study of signs and symbols; it looks at how on stage there might be props or other material (even stimulus) which hints and other meanings and is provocative (suggestive) , reflecting something in the play itself

Multi Role

typically used in a number of plays this is where actors do different parts; it might be aided by costumes but also requires a change in attitude, posture, ideas etc

Cross Cutting

famously used in the film "Pulp Fiction" it, like flash backs, involves moving between scenes and catching them at different parts such as if the end of a story is introduced as the first scene, and then eventually unravels or leads to that point. In our play, we did this by using a party which happens in the past, and splicing it right before the final scene of our play

Proxemics

This explores not only space, but power, and the status between different performers . It might look at how close people get to each other and what idea that evokes as to what they mean to each other. In our play for instance, we did not want to get near the Sam character as part of them was revolting; but also, in our conscience alley, the spacing identifies the device we are using

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Research (summary)
throughout the year, we have drawn upon the work of the following theorists / companies

Practitioners

Berkoff

Brecht

Complicite
DV8

Forced Entertainment

Stanislavki

Kneehigh

Katie

Mitchell

Frantic Assembly

Grotowski

Punchdrunk

Artaud

Peter Brook

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Tuesday (improvisation)

Discovery
Development
Reflect
Evaluation
Research

Discovery

We were exploring what it means to improvise

we learned that improv falls along two lines
- spontaneous
-rehearsed (prompted)

Today we started out with a number of explorative tasks; we plays keeping the ball up to keep us awake after the morning conditioning;

Development

there was chair in the middle and we had to improvise what it was
there were then a number of objects introduced and we worked in pairs to improvise
the improv was then moved to 2 people entering touching one object with 2 other people slowly entering and shifting the focus

the activity was then changed to mean that a person was in the middle doing anything other than
- dancing
- singing
- their hair
and someone had to come in once they froze, and continue the scene by radically shifting focus

there was a short break and then we split into smaller groups and worked on more improvisation before moving to another task which explored the use of blindfolds
we were blindfolded and then worked in pairs to explore a 30 second sequence of movement ;
the partner simply observed to ensure we did not collide with anything, and then, finally, we took the blindfold off, and memorizing the movement we did,  created a short scene.

finally, we came into the main room and re-emerged as a larger group and were all blindfolded as a we played a game called "glass snake." This was a task requiring that we use our perceptive ability and touch to locate people in front of us, memorizing the feel of their upper bodies , before being split in to single cells and relocated. Finally we were tasked with having to connect with each other and find our positions using tactile and other senses.

Evaluation

We were tasked with moving to develop scenes; it made us think about how it is that we are presented with offers and how we might sabotage potential opportunities by blocking material or failing to comprehend the nature of what we are seeing . Throughout the day we not only had to focus on what we were seeing, but also, knowing there could be a shift at any time, we had to watch out for how the scene might adjust, and be ready to intervene to compliment and advance it without throwing off other people.

This required a lot of creativity and imagination which drew upon our ability to immediately relate to other performers and establish the dynamics , such as an object or activity. It was challenging as responding to pressure was especially difficult, and even suggested that research into companies that use lots of improv go about creating work

In the final part of the session, after engaging in a Black History Month Game, we were asked to create three scenes of improvisation, using music and pictures

1 the first was to just have key words and then create something on that

2 next was pure movement with no talking

3 this was the mix / blend the two ideas (intentions)

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On Tuesday 16/10/18, working alongside the other groups we concluded our improvisation;

we began with a bomb blast which used lots of our voices in sync and with ascension; afterwards we went into our spider which has been developed the previous week, and then, using transition and a number of other devises we blended the scene into the chair, with Omar largely taking charge of directing the group; it concluded with the elevator ,

Evaluation

UI have both looked at the recorded video which was a development and built upon the work of the previous week, but more, I have also reflected on the feedback that I gathered fro my partner who was watching the piece.

I need to make more definite choices iwht my body so that I better portray what I am supposed to represent; there were times when my posture and actual expressions were weak and largely indefinite; they were somewhat vague and needed better form;

Reflection

It was interesting as in the group, Omar went on and took a more dominant role , which itself, both sharpened the focus of the group but also bore resentments, It meant that there were some off hand remarks made and yet , if anything, these were merely made to assert a sense of identity and autonomy, as, according to Viktor Frankl, these sore expressions empower and direct life.

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here are links to our performances

https://youtu.be/rgVeXLCFgXA

https://youtu.be/HSBrjUZy3yw

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Discovery

we went out into Southbank (Waterloo) to trial our ideas on invisible theatre. At the start of the day four groups were established with someone who created theatre leading on each of them. I was tasked with leading on the "photo that never gets taken" scene, which involved going to a bridge or  other confined walkthrough, and have one group pose for a photo that is never actually taken.

Development

There were a myriad of takes on this as there was a switch over when it came to who would be holding the camera. Another angle was that someone was asked to film secretly, and so would pose as an indifferent bystander. It was curious as, whilst I would usually demonstrate in silence, when other people posed with the camera, their individual idiosyncrasies came out, and even their demeanour's. Some were more vocal and communicated with the public, others were more dramatic, others were preformative, etc, highlighting that irrespective of a demonstrating there was, to some extent, a selective interpretation of what was happening and how that was imitated.

Evaluation

Before breaking up for half term we were treated to examples of invisible theatre, watching clips of a Big Freeze, Following people around airports or, even flash mobs. These were to guide and inspire our selections and pieces. Some of them involved the audience explicitly being involved in the piece whilst others were simply to test their actions, such as our photo and race that never happen.

We were, upon experimenting with different groups to each scene, asked to select four to perform in the larger group of 26. These were
1. Looking Up
2. Big Freeze
3. Still Photo

Upon returning to college, we were asked to reflect upon the day, asking what went well and what could have beenm improved; with each person asked to input.

I offered that there might have been an excess of creativity which was an artistic difference, or aesthetic one, as I eel the scene for the camera was largely directed by the personality of the perform doing the piece. Meanwhile the looking up activity was failed when people were scattered rather than central and simply devoting themselves to what they were looking at, and how they were looking at it (standing in place.)
Once we reshaped the piece and reconfigured people, it worked much better, especially with the cameras secretly filming, and it being agreed that a whistle would signal to start and when to scatter, with a regroup place agreed in advance.

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Scene One: Antigone tries to convince her sister Ismene to join her in burying their brother Polynices. Ismene refuses, because their uncle Creon has decreed that anyone who does will pay the penalty of death.

First Ode: The Chorus of Old Men celebrate Thebes’ victory over Polynices’ army.

Scene Two: Creon officially announces to the citizens the prohibition against the burial. A Soldier comes to report that the body’s been buried.

Second Ode: The Chorus reflect on the wonder of humanity.

Scene Three: The Soldier brings Antigone, who buried the body, to Creon, who condemns her to death. Creon and Antigone debate the merits of their positions. Ismene joins them and tries to take Antigone’s side, but Antigone refuses to share her fate or her glory.

Third Ode: The Chorus regret the cursed history of the house of Oedipus. Creon listens.

Scene Four: Creon’s son Haimon tries to change his father’s mind.

Scene Five: The First Old Man commiserates with Antigone, and then Antigone and Creon have their final exchange before she goes to her death.

Fourth Ode: The Chorus sing a song to console Antigone.

Scene Six: The blind seer Teiresias comes to tell Creon that he’s wrong and what will happen if he doesn’t change his decision.

Fifth Ode: The Chorus pray to Dionysus, the patron of Thebes, for blessing.

Scene Seven: A Messenger comes to report to Eurydice (Creon’s wife) that Antigone and Haimon are dead. Creon returns with the bodies of Antigone and Haimon, and learns that Eurydice is dead, too.

http://www.randolphcollege.edu/greekplay/plot-of-antigone/

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Which university course did you find most appealing to you?

At Rose Bruford the  Acting BA course was most appealing. It is three years of study . On the website, it reads

This highly vocational Drama UK accredited programme is designed to provide you with the skills needed to become a successful professional actor for the stage, screen and recorded media. Acting is a demanding programme that aims to produce an artist who is physically and vocally flexible, and intellectually alive and curious. Over three years, you will work in a variety of genres and repertoires from classical to contemporary.

Alongside the core disciplines of voice, movement and acting techniques, you will develop a range of creative and transferable skills that will encourage you to become an independent thinker and motivated artist; an articulate and reflective practitioner equipped to succeed in an increasingly competitive profession.

https://www.bruford.ac.uk/courses/acting-ba-hons/

https://www.bruford.ac.uk/
Rose Bruford College of Theatre and Performance

Why?

It is a name that comes up a number of times when theatre and drama schools are discussed.
Apart from that, I could only watch some of their online performances and consider it however I would probably have to visit prior to making a proper commitment to it.

I might still change my mind as there are obviously other, much better, far greater reasons to attend and commit to three years of vocational training.

Discuss the content of the course and the institution.

In terms of why anyone should pic this course, they offer

Conservatoire actor training for stage, television, radio and screen led by professional staff and established practitioners.

Excellent studio and training facilities — purpose-built rehearsal, movement and performance spaces, two flexible drama studios and the fully-equipped Rose Theatre and Barn Theatre.

You will receive outstanding career development and support during your study, working only with top professional people, including preparation for agents, casting directors and auditions.

Alongside numerous College-based performances, you will take part in an industry showcase in London and perform in a range of fully-mounted productions in professional venues

The institution is not restricted to a single course of acting and other programmes are offered. .

Their BA (undergraduate) courses include
European Theatre Arts
American Theatre Arts
Actor Musicianship
Acting

'Conservatoire actor training for stage, television, radio and screen. Alongside numerous College-based performances, you will take part in an industry showcase in London and perform in a range of fully-mounted productions in professional venues.'

Other additional features are

Alongside the core disciplines of voice, movement and acting techniques, you will develop a range of creative and transferable skills that will encourage you to become an independent thinker and motivated artist; an articulate and reflective practitioner equipped to succeed in an increasingly competitive profession.

Our graduates have gone on to work with Britain’s National Theatre, the The Royal Shakespeare Company, regional theatres and commercial theatres (including the West End), the BBC and other film and television companies, including Hollywood careers.

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Which conservatoire course did you find most appealing to you?
Why?

The East 15 Conservatoir came to mind as it was something different to Guildhall and RADA, and even Identity.
https://www.east15.ac.uk/
I honestly looked at the website and prospectus and felt they might be able to advance my career, but also, it is still based in London, and wouldnt stretch my pocket too far with accomodation (although travel would impact upon me)

Also they study many names we are already looking at and exploring  'Michael Chekhov, Rudolf Laban, Jerzy Grotowski, Jacques Lecoq, Peter Brook and other important contemporary trainers.'

Discuss the content of the course and the institution.

On the coruse they claim that:

BA Acting provides a thorough and complete preparation for the professional actor. We transform and enhance the individual talents of our students by developing the imagination, voice and body, so that you graduate ready for professional life on the stage, screen and all areas of performance.

From the start of your course you are introduced to the basic methods and theories of acting, particularly the work of Konstantin Stanislavsky and Rudolf Laban, working in small groups with our professionally experienced staff.

There are numerous courses they have including
Creative Producing
Stage Production and Management
World Performance
Physical Theatre
Acting and Stage Combat
Acting and Community Theatre
Acting

Although their website offers little, from the talk they explained that we would select both a classical and a modern monologue to explore and perform on the day, as well as completing a number of group tasks.

https://www.east15.ac.uk/courses/ug00008/1/ba-acting

Here is a further breakdown of what would be taught over the three years

Introduction to Acting Theory, Methods and Practice, and Development From Self to Character

Verbatim Theatre and Contemporary Scene Study

Actor and Text

Improvised Living History

Voice I

Movement I

Music and Singing I

Contextual Studies I

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Oedipus is father of Antigone and Ismene, and has two sons, Eteocles, and Polynice. After Etecoles took the throne, Polynices, who rebelled, was defeated, and Creon became king after they marched on Thebes. Eteocles buried in honour but Polynices left to rot in pain.

Antigone wants to bury her brother Polynices, who died in battle, but her sister Ismene reuses because their Uncle Creon decreed against it. She buries it anyway, and is captured, and taken to Creon who condemns her. His son, and Antingone's fiance, Haimon tries to change his mind. A blind seer, Teiresia, tells Creon he is wrong, as a messenger reports to Eurydice (Creon's wife) that Antigone (immured) and Haimon (suicide) are dead.

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We looked at a number of monologues from Level 3 performing arts today.

We were asked to check a number of criteria but asses them against a specific one. Afterwards they gathered round and as a class we offered them feedback on what it was they did.

note: we were informed of Open Door who (based in Spotlight) hold an audition for less financially fortunate actors, and present an opportunity for funding.

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We were divided into two gorups for different parts of the day
in the morning I was working with Bruno (level 1) to conduct and complete research into the most pressing elements of his life, detailing and identifying key distinctive events in his life.
It was realised that the fact he spent so much time interned in prison or mental units, or healing sanctautires even, massively contributed to how he saw the world. There was mention of him perhaps being addicted to opium, but also, mention of his decision to leave his parent, against his wish, might have contributed to pain he felt in his life.

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We were shown this portrait and told to brainstorm, writing whatever words of phrases came to mind. Afterwards we were told to read both our most ridiculous statement and our most serious one.

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Benetton's Most Controversial Advertising Campaigns Through The Years

We were presented with the picture below and then asked to create a piece of theatre, exploring a surrealist style. Other people were given the options of producing a realist piece or a presentational piece.

at first our piece was so direct it failed the task, and then we were encoruaged and pressed to go beyond the more mundane theatre expectations and produce something original . It was to be abstract and so we went to the root and core emotions of our 4 characters (we were assigns letters with a character brief to stimulate and direct the task.) We then created something abstract, using music, and incorporating mime and still image.

Afterwards in response the group fed back and explained what they most related to

It was highlighted that there were fundamentally three different ways of doing things
they served to create different effects
- make us feel
- make us think
- make us believe

Artaud wants us to feel

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We were then put into a larger group (Lewis, Daniel, Samira, Myself) and each of us were told to create a smaller Pecha Kucha, this one with 10 slides, and talking for 10 seconds.

From memory I was aware of the artwork of Renee (This is Not A Pipe) as well as Salvador Dali and so included a coupe of these images. I also felt to explore Luigi Pirandello as there were not much theatre practitioners in our group presentation, and also because, in his own text, he explores themes of mirrors. This was much like the initial task where were asked to reflect upon a portrait.

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I know you have elements mentioned in your other padlet, but this needs full completion here

Invisible Theatre refers to both theatre performed anywhere, and also, theatre done without the formal staging, somewhat disguising it from public spectacle. Unlike traditional forms of theatre, the public may not always immediately be aware of what it is they are watching, and so might meet the spectacle, with surprise and equally, shock. It can be performed both in crowded spaces, or even in isolation, but the idea of the public not seeing that it is staged remains

this form of theatre can be scripted or spontaneous, but even when the latter, it will still  be either planned (rehearsed) or purely improvised.
It can take place in usual spaces such as moving vehicles, or even in suspended boxes, whilst comic acts might use it for sketches.  Examples includes televised shows "Trigger Happy TV" or more recently, "Balls of Steel." This begs the question, can satirised television be countered as invisible theatre, such as "BRass Eye" which never explicitly stated, within the programming, that it was unreal (comedic.) in its approach

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At first  I was moving around and was going to step towards people and make something happen, however, I was told to just be there , standing still, and simply be (27 November).

I had no problem with this as I dont have many problems standing still, just being and doing nothing almost. If anything, I have more issues attempting to dance expressively when a camera is on me, or when I am on stage.

It was still relaxing to simply be stood there is front of people , watching them.I was searching for people I could look at forever, and see who could dance with my stare.

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We were told to look at all the shoes that we were on show, minus the ones that were pulled or put at the side, these were off limits. Apart from those, we were told to try and on two sets of shoes, and whilst in them, to check to see what we experienced in them, and reflect on how they altered both our posture and our movement itself. It explored our being in the very shoes themselves.

We watched a few people by dividing the group into two, and trying to dissect how their change of shoes altered everything about them. Of course we could not infer the impact it had on their deeper thoughts and feelings but it at least altered their movement

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Exploring the Self

Having been on the vogue scene for the longest time, I have already explored gender and identity through performance and expression, however, leaving that in the past, it was not something I would want to deal with , and so despite the activity, I decided Iwould not explore shoes. I did however experiment with flip flops and sandals (sliders) which were not something I would wear as I disagree and still do, with their premise. I see them as a sign of being conceited, and also, a misleading pretense; they were for people with money but now people wear them as a means of impersonation.

What have you learnt about yourself and presence?

I realised that despite there being still lots of doubt and indecision in my voice, which I am developing through cumulative exercises, I am confident and largely comfortable standing up before people on stage. My presence is assured when I have to be still and simply stand looking at people suggesting I have few reservations about being deeply exposed. It is curious as Andrew remarked that how we respond to embarrassment and even wish to initiate it speaks to what attracts performers to theatre ; this desire to be seen, ans a willingness to take awkward risks

At the same time, I learnt that there are many boundaries and barriers I am not looking to break as to do so might go beyond stretching my character and person and even break it. This was to do with ideas of gender and neutrality which I was still largely challenged by in terms of the exercises of shoes; I am not exposed in terms of remaining still but in terms of performing there are still elements I have large reservations with.

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how did your presence change

In terms of wearing an assortment of shoes,  I became so much more self conscious of what I was doing; I started to try and think about how the person moving might move inside of the shoes, and so being in them I almost took on some traits of the people themselves.

There is an idea that people who shift between languages actually alter and transform parts of their personalities ; these minor shifts in their conceptual framework influence their behaviour itself and take them into other aspects of their personality.

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We started the day with a warm up, vocal, and some physical, before breaking off into two groups and working to develop a most surreal soundscape. One group were, we discovered, to be in a football match, and recreate the imagery of that, whilst my own group were placed in

We began the day reflecting on the work of Artaud, and what it is that we gained from studying his work. We did a recap of his classic work exploring the double in theatre, and then encouraged to develop upon our presentations exploring surrealism.

We were to watch a film called “Un Chien Andalou” however, the group was divided with one group facing away from the screen and recording the responses of the group who were watching the film. After about 9 miutes we switched roles and they recorded our responses. We were then given a coup of his play, The Spurt of Blood, and divided into two groups before getting given somewhat vague instructions. We were to recreate or make an adaptation of the play, and given 4 hours (after break , to do this. We were then to submit these at 6pm.

It was a curious process because at first I did not think the task was going to be successful as members of the groups worked at very different abilities, meaning at times, it was somewhat painstaking attempting to accommodate the needs of each learner.

At the start I did not engage well, however, this was also because I was weary of making excessive contributions whilst others took less active, roles. The management process stressed out some members who were slowly taking charge and attempting to organise the group. People were giving ideas for certain parts whilst others were more willing to receive directions; there was also the initial problem of allocating roles.

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I was outside of the Lesson however, we were attempting to piece together the narrative of the play, in our efforts to develop and build our classical monologues. It was fitting as over the weekend I attended the Open Door audition attempting to assist less privileged students with finding pathways into drama school. Despite requiring a modern monologue, this process of learning a classical monologue will still help to create our major piece of theatre, Antigone.

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Having created a Many profile, on Tuesday (20/11/18) we took pictures (and these were used online.

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We began by completing a short college survey and then progressing to summarising and completing padlet work . In the afternoon, Andrew led a session exploring physicality. We built upon the earlier task in which we were asked to write down four key phrases that mean a lot to us.

In our group of five, (Marco, Corey, Rose and Vincent) we agreed that four phrases that mean a lot to people are
- I don't see colour
- Are you legal
- Is everything OK
- I don't care

For ours, we created a sequence using full body contact. The idea was that if we established a movement which pushed us to extremes and testing our physical capacity, by varying its intensity and pace (speed) EACH TIME, we would eventually move to a point of exhaustion. It was claimed that at this point, we would finally cease "acting" (pretending) and allow ourselves to be. It was at this point of paradoxically minimal and maximal effort, authenticity was arrived at.

This task challenged me to release my self from all mental expectations, but again, it was only a wish, a desire, because doing that is difficult. It recalls the question asked by Sarte, and paraphrased by "Stokely Carmeichal, 'can a man condemn himsef.' Evidently, not, or at any rate, it is very difficult, and so, in terms of acting, can I as a performer relinquish my desire to fake or imitate performance and rather permit/allow myself to express authentically, honestly.

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Here is a link to the films that we made

Spurt 1 https://www.youtube.com/watch?v=jwGu6ET1Brg

Spurt 2 https://www.youtube.com/watch?v=Et0NGleo60A

Each group were given three hours and tasked with directing and performing our interpretations of the Artaud script

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We explored three experiments

1. Looking Up - Invisible
Here the group randomly, suddenly froze and looked at a pre-decided point; they were to remain there standing, without comment, for as long as required, before abruptly breaking away and meeting at a pre-arranged point

2. Big Freeze - Flash
Here, we were to stop suddenly, whilst walking outside the south-bank centre it self, and suddenly freeze, holding fixed positions.

3. Still Photo - Disruptive
My favourite of the lot; here we would assemble and arrange ourselves so as to suggest we were about to take a picture; the photographer would then freeze and hold still, no picture actually taken . The crowd would then be faced with an ultimatum; either walk across this imaginary set-up, or hesitate and pause for as long as they expected.

What Did Work

Of these, I think that all three worked to varying degrees ; I was not so keen on the fixed point exercise because the first time around it was not entirely effective. It required two takes, and a more organised approach; we had to cluster and stare at one point

The sudden freeze always worked, as, replaying the video, the onlookers were shocked and even startled, with some remarking, upon our sudden re-animation, perhaps they ought to have recorded the spectacle. It achieved its desired effect

What Did Not Work

By contrast, the photo did not achieve the desires effect when a larger number of people were used; this was because not everyone followed the brief; some people were attempting to produce cameos, which was some disrupting the tension, or success of the piece. It meant passers-by didn't think a picture was always about to be taken and might have just walked by, killing the effect.

Comments and Reflections

It was curious to analyse and reflect upon the fact that some tasks were better accomplished when fewer people were in the group, or when the leadership and organisation of the task was explicit. If, however, people attempted to break from the structure, in the photo for example, it seemed to undermine the integrity of the piece.

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My performance was analysed by Maia Richards who offered the following points of feedback

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Script 2 - Understanding Individual Words 

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Script 2 - Understanding Individual Words 

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In the text there were not many words I did not understand , however, for greater clarity, here is a summary of phrases that required better understanding within the context of the piece

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Here is a breakdown of the meaning of each thing

Making sense of the text

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He famous wrote a book entitled, "the theatre and its double"
It has been suggested that we read the first chapter, at the very least

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unfortunately our slideshow (petcha kucha) was lost however this short piece details lots of aspects of his life and early childhood influences on his work

https://www.youtube.com/watch?v=JuQAS57I-qQ
The Theatre of Cruelty

https://www.newyorker.com/magazine/1973/05/19/approaching-artaud
Sustan Sontag, New Yorker, May 19, 1973 issue writes "He saw the theatre as using a plurality of materials--words, light, music, clothes, furniture, etc. He saw the theatre as carnal and corporeal." This might be alluding to the idea that he sought to go beyond words and other symbols, much like predecessors who had a degree of contempt for theatre formality.

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Elements of Physical Theatre and Features

We sat through three videos and then analysed exactly what was happening on the screen, comparing each of the things . Please see below

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In this session we were asked to differentiate between speed and tempo

there is a difference in as much as speed is the rate at which something is moving

pace is the measured beat it is moving to

a sequence is a patter that can be repeated

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Movement Sheet

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We are possibly going to devise music according to this song

https://www.youtube.com/watch?v=D8K90hX4PrE

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Here are three songs demosntrating three different tempos

Adagio

https://www.youtube.com/watch?v=0VAHm5NNqLo

Moderator

https://www.youtube.com/watch?v=LndrLOLJgrs

Allegro

https://www.youtube.com/watch?v=pNqbYuXkR_g

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Andrew asked us to go through five paces

Allegro moderato – close to, but not quite allegro (116–120 bpm) Allegro – fast, quickly, and bright (120–156 bpm) (molto allegro is slightly faster than allegro, but always in its range) Vivace – lively and fast (156–176 bpm) Vivacissimo – very fast and lively (172–176 bpm)

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There are 10 things to do in a play according to theatre practitioner and theatorist, Stanislavski, in his theatre technique known simply as the METHOD
Here are some highlights
He develoed MAT in the 1890s, and worked with Chekhov,
1. Given circumstances, the facts that inlfuence a persons behaviour
2 The Magic if, or facts that place you in their life
3 Super Objective asks what they want most
4 Through lie of actions is how they respond to particular obstacles
5 Uniting the script
6 Endowments is the qualities you imagine they have
7 awaken their memories and the sensations they feel
8 think about the images in their mind

He wants actors to build believable characters who would ask themselves key questions, such as
These are:

1. Who Am I?

2. Where Am I?

3. When Is It?

4. What Do I Want?

5. Why Do I Want It?

6. How Will I Get It?

7. What Do I Need To Overcome?

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Here are my units of the play and by this I am referring to the tempo and beat it is moving at

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This film explores a number of addictions