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Stupid Fucking Bird is a contemporary adaptation of Anton Chekhov's 1896 play The Seagull

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Level 4 outline of units including deadline 

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Level 4 outline of units including deadline 

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Scripts from the BBC Radio Drama archive

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3 Voice Acting Exercises To Practice In Your Free Time

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Laryngoscopy of an Opera Singer - 2017 CHRISTMAS LECTURES

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What's the difference between Verse and Prose?

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Singing in the MRI with Tyley Ross - Making the Voice Visible

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Iambic Pentameter Explained Part 2: Variations

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Con (based on Konstantin Gavrilovich Treplev) – The protagonist, is a struggling playwright. Cynical.

Nina (based on Nina Mikhailovna Zarechnaya) – Con's love interest. Wants to become a famous actress. Flighty.

Emma (based on Irina Nikolayevna Arkadina) – Con's mother. A famous actress. Jaded, jealous, and overbearing.

Trig (based on Boris Alexeyevich Trigorin) – Emma's lover. A narcissistic, selfish, hedonistic, and famous novelist.

Dev (based on Semyon Semyonovich Medvedenko) – Con's best friend. In love with Mash.

Mash (based on Masha) – A musician in love with Conrad. Manipulative.

Sorn (based on Sorin and Dorn) – Emma's brother. A doctor.

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Level 5 outline of units including deadline 

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Level 5 outline of units including deadline 

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If you’re a new or existing voice over artist looking to get found, get heard, get hired and get PAID you’ve come to the right place! Hi, I’m Bill Dewees, successful professional voice over artist and coach. I publish new videos Monday through Friday covering everything from picking your first mic to how to land profitable VO jobs. Benefit from my over 16 years experience of working with clients including: Disney, Coca-Cola, Google, Microsoft, Warner Bros., American Express, FOX, The PGA Tour, Kellogg, GE, Eli Lilly, United Airlines, Bayer, Mastercard, Avon, Amtrak, NPR, Intel and many more of the largest and most influential companies in the world. For my voice over training resources, check out https://billdeweeslive.com/linktree Follow me: LinkedIn: https://www.linkedin.com/in/voice-over/ Facebook: https://www.facebook.com/BillDeWeesVoiceTalent Want to learn more about my Voice Over Training Program? Book a FREE short call here: http://bit.ly/bill-youtube-k1

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Aim: To continue to work towards task 1 in the assignment brief.

By the end of the session

Level 4 should have completed-

Decide which format to present this work (workshop etc.)

Research 3 topics you can present for this task. Use the assignment brief as a sheck list

Level 5 should have completed

Select at least 3 style of performance to present

Research into these 3 styles of performance (scripts you could perform)

Everyone needs to have the set up their portfolio for Voice to collate all their work.

I will do one to ones during the session.

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How to Make a TUTORIAL Video in Minutes(FREE Template!)

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It's baaaaaack!

For a limited time only, your favourite autumnal treat has returned with a brand-new look: Black edition.

Try out the spookiest pumpkin spice to date. Same classic taste on the inside, pitch black on the outside.

Oh, and don't forget the whipped scream.

Aaaaah! Too hot!

Pumpkin spice: Black edition - Available at the Latte Lounge.

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Pumpkin Spice: Black Edition - Voicereels

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It's baaaaaack! For a limited time only, your favourite autumnal treat has returned with a brand-new look: Black edition. Try ...

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WESTMINSTER PROTEST
There's been a major security breach at Westminster -- where environmental campaigners opposed to a third runway at Heathrow Airport -- have carried out one of their most audacious stunts. Five demonstrators from the campaign group Plane Stupid, climbed on to the roof of the Houses of Parliament after gaining access as visitors; they then took a lift and got up on to the top of the building through a fire escape. Despite, strenuous efforts to tighten security procedures at the Palace over recent years -- it's emerged tonight that detailed maps of the building's lay-out can still be accessed over the internet. Questions will also be asked over how the protesters managed to get banners and handcuffs through search points, and whether they had inside help. Our Political Correspondent, Norman Smith, reports:

SMITH: Westminster may now be guarded by armed police, ringed by security barriers and equipped with sophisticated airport style entry checks -- but at nine thirty this morning, the five protestors managed with some ease it seems to find their way onto one of Parliament's gothic roofs. From there, they unfurled their banners, waived to the cameras - and phoned the media:

PROTESTOR ACT: The fact that we got in here is really not as worrying or concerning as the fact that we're on a pathway to absolute chaos if we carry on with the government's airport expansion policies.

SMITH: Some two hours later, they were escorted down by police and arrested -- just as the Prime Minister was delivering this rebuke:

BROWN ACT: I think the message should go out today very clearly, that decisions in this country should be made in the chamber of this House and not on the roof of this House and it's a very important message that should be sent out to those people who are protesting.

PROTESTOR ACT: It's understood the protestors gained access to the Commons today by pretending to be visitors attending a committee hearing. Once inside, they apparently gained access to a lift up to the roof. But the speculation among MPs is that they must have received help from someone working at Westminster. Otherwise it's argued it would have been almost impossible for the intruders to find their way round the warren of corridors and doorways. And tonight there was some sympathy for the police. The Liberal Democrat, Norman Baker:

CLIP BAKER

SMITH: But, in a separate development, this evening the BBC has learned that maps with detailed floor plans for Parliament can be found on the internet. This despite the Commons authorities apparently being warned about it after a previous security breach in 2004. While today's events have inevitably raised further questions about security and access to Westminster, there appears to be a broader consensus among MPs - that whatever the security complications, nothing should be done to compromise the right of the public to visit Parliament.
Return to index of stories...

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WESTMINSTER PROTEST There's been a major security breach at Westminster -- where environmental campaigners opposed to a third runway at Heathrow Airport -- have carried out one of their most audacious stunts.

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Written in reaction to London crashing from the euphoria and promise at being awarded the 2012 Olympics into the chaos and reality of the 7/7 bombings, the play is composed of seven stories that serve as a countdown to the catastrophic attack on London.

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HSFC Subsidiary Diploma Drama presents - 'Pornography' by Simon Stephens

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Shelagh Stephenson an experiment with an air pump

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Shelagh Stephenson an experiment with an air pump

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An Experiment with an Air Pump is a play by English playwright Shelagh Stephenson inspired by the painting An Experiment on a Bird in the Air Pump by Joseph Wright. It shared the Peggy Ramsay Award for 1997, was first performed at the Royal Exchange Theatre, Manchester in 1998, and has since been staged by a number of other companies worldwide.

The plot takes place in the same house in two different time periods divided by the gap of two hundred years (1799 and 1999). The play questions the basic principles of scientific (medical) research, such as the right of the scientist to cross ethical limits: the right to perform dissection on the recently deceased (1799) and use of embryos in stem-cell research (1999).

Both years are symbolic—they stand at the turns of new centuries and have to face the challenges the new times are about to bring. There will be a great development in medicine in the 19th and of genetics in the 21st centuries

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An Experiment with an Air Pump is a play by English playwright Shelagh Stephenson inspired by the painting An Experiment on a Bird in the Air Pump by Joseph Wright. It shared the Peggy Ramsay Award for 1997, was first performed at the Royal Exchange Theatre, Manchester in 1998, and has since been staged by a number of other companies worldwide. It was published in Plays One, a collection of Stephenson's plays published in 2002.

The plot takes place in the same house in two different time periods divided by the gap of two hundred years (1799 and 1999). The play questions the basic principles of scientific (medical) research, such as the right of the scientist to cross ethical limits: the right to perform dissection on the recently deceased (1799) and use of embryos in stem-cell research (1999).

Both years are symbolic-they stand at the turns of new centuries and have to face the challenges the new times are about to bring. There will be a great development in medicine in the 19th and of genetics in the 21st centuries.

The play also implicitly deals with gender roles and questions the stereotypes of women scientists. While in 1799, it is the father (Fenwick) who is the enlightened soul and his male friends are also scientists (Armstrong, the physician, and Roget, the to-be-author of the thesaurus), his wife (Susannah) is a stereotypical wife of the time and their two daughters (Maria and Harriet) are expected to be such, too. The decision of one of them to become a scientist leads to disapproval. In 1999, the roles somehow change: Ellen, the wife, is the geneticist, and her husband, Tom, is a historian. Ellen's friend, Kate, is also a young genetic researcher. There are also two "uneducated" characters: Isobel, the 1799 maid, and Phil, the 1999 handyman.

An additional theme of this play involves the ethics of using human life, in any form, for the advancement of science. Though the topic is not specifically discussed in 1799, the characters in 1999 do talk about the issue, though no concrete conclusions are drawn.

Besides the general questions about a scientist's responsibilities and limits, the play is in part a detective story. In the modern times, a skeleton is found in the basement. The skipping between the two time periods highlights, then resolves, questions about the identity of the corpse and the means of their death.

After Armstrong seduces Isobel, he confesses to Roget that he feigned love for Isobel because then she would agree to have intercourse with him. If she is naked, then he can examine her twisted spine more thoroughly. Isobel overhears and is moved to kill herself by hanging. Armstrong finds her hanging and speeds up the process. The characters in 1799 ring in the new year with the death of Isobel, whereas, the characters in 1999 begin the new millennium leaving their old home, and the certainties it possessed for them, behind.

Dr. Fenwick is a radical physician who believes that republicanism is the way forward. He has a fairly cynical view of the world and is a scientist because he "want[s] to change the world".

Susannah is the wife of Joseph Fenwick. She is, in some respects, the 1799 equivalent of Tom, with a passion for reading, poetry and art. Susannah overcomes issues with her husband about love and respect throughout the play, though it is clear she drinks heavily and relies upon childish behaviour to gain the attention she so desperately requires.

Harriet is the daughter of Joseph and Susannah Fenwick and the sister of Maria. She admires her Father but loses her temper easily.

Maria is also the daughter of Joseph and Susannah Fenwick and is the sister of Harriet. She always wants to be the centre of attention and is in constant competition with Harriet to see who can be the better daughter. She is engaged to a character who is never seen on stage called Edward.

Roget is the only character in the play based on a real person- the creator of Roget's Thesaurus. In the play, he is a character in whom an inward moral battle rages about the ethics of science, though he maintains that he is a scientist because he wants to "understand the society".

Armstrong is a cold, ruthless physician who is particularly interested with the structure of the human body. He is staying with the Fenwicks after Dr. Farleigh (a character never seen on stage) persuades Dr. Fenwick to "take him on for three months".

Isobel is the maid of the Fenwick household. She is originally from lowland Scotland and has a hunchback. Although timid, Isobel has a passion for words and it is evident that she is an intelligent, though self-conscious person.

Ellen is a geneticist who is being persuaded to take a job that is being offered to her from Kate's company.

Tom is Ellen's husband and is an English lecturer but he has been made redundant. Therefore, he is depressed and has concerns about Ellen's job.

Phil is a geordie building surveyor who is surveying Ellen and Tom's house which they are planning to sell. He offers human compassion and comic relief in the play.

Kate is Ellen's friend/fellow geneticist who offers her a job at her company. She is in direct conflict with Tom for most of the play as they both have opposing views on the conduct and morality of scientific exploration.

Royal Exchange Theatre, Manchester, UK (1998)

Hampstead Theatre, London, UK (1998)

Manhattan Theatre Club, New York, NY, US (1999)

Dallas Theater Center Dallas, TX, US (2000)

Shipping Dock Theatre, Rochester, NY, US (2002)

Middlebury College, Middlebury, VT, US (2005)

John Lewis Partnership Dramatic Society, Royal Court Theatre, London (2005)

Langston Hughes Theater, Seattle, WA, US (2006)

University of South Dakota, Vermillion, SD, US (2006)

University of Adelaide, Australia (2007)

Amarillo College, US (2007)

Alnwick Playhouse, Northumberland, UK (2007)

Maddermarket Theatre, Norwich (2007)

Phillip Lynch Theatre, Lewis University, Romeoville, IL, US (2008)

Sinclair Community College, Dayton, OH (2008)

University of Nebraska, Lincoln (2008)

Lansing Community College (2009)

The Little Theatre, Hertford, UK (May 2009)

Hampstead Theatre, London, UK (October 2009)

University of San Diego, San Diego, CA (November 2009)

University of New Orleans, New Orleans, LA (November 2010)

English Theatre Berlin, (February 2011)

University of Waterloo, Waterloo, ON (March 2011)

Giant Olive Theatre Company, London, UK (2011)

Western Washington University, Bellingham, WA (2012)

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An Experiment with an Air Pump - Wikipedia

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An Experiment with an Air Pump is a play by English playwright Shelagh Stephenson inspired by the painting An Experiment on a Bird in the Air Pump by Joseph Wright. It shared the Peggy Ramsay Award for 1997, was first performed at the Royal Exchange Theatre, Manchester in 1998, and has since been staged by a number of other companies worldwide.

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Level 4

M1 Demonstrate the relationship between voice production and physiology with accuracy

D1 Analyse the relationship between voice production and physiology

Level 5

M1 Develop relevant techniques appropriate to the realisation of the text effectively in performance

D1 Develop relevant techniques appropriate to realising text in performance in a perceptive manner with assurance

D2 Critically analyse text, making perceptive, creative and interpretive choices suitable for performance

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Shelagh Stephenson Five Kinds of Silence

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Shelagh Stephenson Five Kinds of Silence

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Five Kinds of Silence is an in-yer-face theatre play by the playwright Shelagh Stephenson, first published in 1997. It tells the story of a family living under the power of the vicious Billy, who physically, emotionally, and sexually abuses his wife, Mary, and children; Susan and Janet. The stage play is adapted from the radio production of the same name.

Characters-

Billy

Mary

Janet

Susan

Detective

Lawyer

Psychiatrist

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Churchill's darkly comedic adaptation of Strindberg's 1901 play, A Dream Play follows Agnes, the daughter of the gods, as she journeys through human life in all its pain and beauty, searching for the hope of redemption.

Lots of characters

Multi roling

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A Dream Play by August Strindberg (adapted by Thomas R. Gordon) - Full Show

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NOT TO BE CONFUSED WITH METAMORPHOSES BY BERKOFF

Primal storytelling and modern sensibility collide in a sensual re-envisioning of Greek myths, as gods and mortals alike endure love, loss, and transformation—all while immersed in a pool of water on stage.

Based on Ovid’s transformation myths, Metamorphoses mixes the ancient stories with contemporary language, humor, and thought. This is all enacted in and around a large pool of water, the elemental giver of life and vehicle for change. The themes of love, the inevitability of change, and the human ability to adapt are timeless, as is demonstrated by the sometimes eerie closeness of a vignette to the original lines from Ovid, which still manage to resonate in modern times.

Many character to be played by a handful of actors

many short stories in one (chaper) can easily cut them

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Metamorphoses presented by Bethany Lutheran College

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Inside No. 9 - Series 3: 6. Private View

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A very special invitation to Elliot Quinn’s final exhibition at The Nine Gallery.

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CAST LIST ARLO, A FOOL

COLUMBINA, A MAID

PANTALONE, A ROGUE

HORTENSIA, HIS DAUGHTER

SCARAMOUCHE, A SOLDIER

THE DOCTOR

MARIO, HIS SON

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Inside No. 9 - Series 6: 1. Wuthering Heist

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Pantalone has hired a total bunch of clowns in a plan to steal a consignment of diamonds.

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Deadline for task 1- 22nd March 2024

W/C 4th March

W/C 11th March

W/C 18th March- deadline at the end of this week

Level 4- You will need to analyse the relationship between voice production and physiology. This can be a workshop, YouTube.

link, or a written report of 1,500 words.

On your own portfolio you will need to include research into this task. You should also Harvard reference information used in the workshop or report. If you are producing a workshop you need to include a lesson plan and resources (presentation)

Level 5- select a range vocal performance such as poems, advertisement, Shakespeare, spoken word, classical acting, contemporary acting, and Storytelling. You should record yourself performing 3-5 different styles of text and then critically analyse the text to identify performance choices. On your own portfolio you will need to include research into each style of performance. Include examples of other performing this style and upload your own videos. You should also Harvard reference information used in the research. It should follow the format of research, how to perform, examples of own performance (This could be more than one take or development.) Vocal technique development research and examples to help perform this style of vocal work.

Task- Create a plan for this task. You should include the following.

·       What are you planning to put in the task (such as what activities in the workshop)

·       What research are you including?

·       When are you filming the activities?

·       What equipment do you need for these activities? Rooms, tech etc.

·       When are you editing any filming (if necessary)

You need to log this plan on your vocal portfolio.

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Aim: Continue to work towards task 1 from the assignment brief

Level 4s Referring to the criteria- How will you make sure the information is accurate? and how are you demonstrating the research undertaken

Level 5s Referring to the criteria- Critically analyse text how's this look?

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Level 4- On your own portfolio you will need to include;

Research- Harvard reference- Where are you finding the information???

You could include ideas and plan, out takes and scripts

Level 5- On your own portfolio you will need to include research into each style of performance. Include examples of other performing this style and upload your own videos. You should also Harvard reference information used in the research. It should follow the format of research, how to perform, examples of own performance (This could be more than one take or development.) Vocal technique development research and examples to help perform this style of vocal work.

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You should upload everything to your portfolio and only submit the link to your portfolio

Video of warm up- YouTube link is the easiest way to submit this.

Research- where did you find the warm up/ facts/ information?

Harvard reference research- Include Harvard reference for where you found this information.

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You should upload everything to your portfolio and only submit the link to your portfolio

3-5 Voice performance video

Research into this style of performance and how to perform it

Evaluate/ analyse the why you performed it

Harvard reference any research

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D2 Apply key techniques perceptively in rehearsal, demonstrating comprehensive skill to realise the chosen style

D3 Create a full characterisation in rehearsal to interpret the role, communicating its intentions with creativity, fluency, and imagination

D2 Critically analyse text, making perceptive, creative and interpretive choices suitable for performance

M2 Explore text, making assured interpretive choices appropriate for performance

P3 Analyse text, applying appropriate choices about performance possibilities

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D2 Analyse key features of the text recognising the creative possibilities in relation to the presentation of character and the play

D2 Develop a range of

exercises that demonstrate the principles of voice

production and lead to clear improvement in vocal ability

M2 Apply identified techniques and exercises to develop

technique

P3 Identify relevant vocal techniques for a vocal development regime.

P4 Explore relevant technique and exercises.

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Interpretation: Define interpretation of role, Work with director to develop characterisation

Experimentation and development: Try out character choices and review and refine, take risks in developing material, Conscious application of technique.

Using the script and under direction you must explore the requirements of the character and bring these to the performance being sure to explore the following in rehearsals.

Research: Function of role Exploration of psychology of role, Stylistic considerations in performing role, Linear or non-linear through-line of role

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You need to construct a range of exercises that demonstrate the principles of voice production and lead to clear improvement in vocal ability. This could be in videos of you exploring vocal warmups, or written techniques to help you explore and develop your character. You will need to explore and demonstrate.

Expressivity:

Clarity, Pace, Dynamics, Character, Use of accents

Analysis of text:

Understanding, Interpretation, Vocal choices to convey character.

Positive and negative practice:

Identifying the false and true folds and alternating between constriction and

retraction to feel the space change between insufficient voice use and efficient use of voice or clear tone.

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In pairs Record and upload to your personal Padlet Page

3 videos of trying different voices for your character

3 videos speaking at different volumes/ pitch/ projection

3 videos of warm up or techniques that could help with your character and trying them out

Merit- Upload links to your Padlet including videos and research of warm up techniques.

Highest Criteria - Research into Commedia Dell'arte, your Character, and HOW you will present this (you could also film this) Harvard Reference this information

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As a group

In pairs Record and upload to your personal Padlet Page

3 videos of trying different voices for your character

3 videos speaking at different volumes/ pitch/ projection

3 videos of warm up or techniques that could help with your character and trying them out

Merit- Upload links to your Padlet including videos and research of warm up techniques.

Higher Criteria - Research into Commedia Dell'arte, your Character, and HOW you will present this (you could also film this)

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2024-04-26 - HE Showcase Acting Rehearsal

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You should submit your Padlet page with the following information on it

Voice task 1-

level 4- YouTube video

Level 5- Comparing voice productions

Voice character task

Videos recording in class trying out voices

Evaluations

Any rehearsals footage links

Performance footage

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Research-

General Commedia dell'arte

Commedia dell'arte Character, there walk, talk and stance find examples of the performance

analysing the original show and how you presentation it different or the same.

State how and why you chosen to perform your character in this way