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You Must read the assignment brief BELOW
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In a nut shell we are going to create a performance piece that is a collage of different plays and physical theatre performances that explores life in the military.  This could include:
>> war stories from different historical events
>> stories from families at home
>> military training
>> friends and foes

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What did you do? What was the task? How does it relate to our performance?

How did you do it? What choreographic skills did you use? Contact skills? Why did you choose the movements?

Why did you do it? How could we develop it or use it in performance?

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Tues 4/6 AM: GCSE English

Thurs 6/6 AM: GCSE Maths

Fri 7/6 AM: GCSE English

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Add Stephen and Neil as Moderators:
stephenmasonCWC
neil_duggan

Please use the following Headings to set up your Padlet:
Title: Name Surname L2 FMP
Sub Title: Unit 9: Producing and Performing to an audience

Column Headings (these are the same as this Padlet):
Your Name and Surname
Assignment Resources (copy the Assignment Brief and Assessment Criteria)
Company Roles
Context Research
Performance Research
Initial Ideas
w/c 11/03/2019
w/c 18/03/2019
w/c 25/03/2019
w/c 1/04/2019
w/c 22/04/2019
w/c 29/04/2019
w/c 6/05/2019
w/c 13/05/2019
w/c 20/05/2019
Performance
Evaluation

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British Army Recruitment TV Ad 2014 - Army Life - Army Jobs

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Michael Alford Battle Buddies Inspiration

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Michael Alford Battle Buddies Inspiration

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Be creative: use mind maps, voice recording, written entries and video diaries. Remember you can copy resources over from this Padlet using the three dots on the post!

Copy every video that you are in from this Padlet and briefly comment on what you are doing.

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Rosie Kay Dance Company 5 Soldiers – Live Stream

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5 SOLDIERS - what do real soldiers think of it?

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Rosie Kay talks about the inspiration for 5 SOLDIERS

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5 Soldiers review - war from a female perspective packs a punch

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In Rosie Kay's taut, visceral, compassionate piece, the body is the frontline

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This article is from 2017.

Rosie Kay's unflinching examination of the life of a soldier

There's been a fair amount of controversy over giving space, support and funding to work produced in co-operation with the Army this Fringe. But it would be wrong to dismiss Rosie Kay's nuanced, critical exploration of the life of a soldier as propaganda. Yes, Kay does draw compassion from us, for the bodies of the individuals facing the front line, but she also shows the crippling effect of the institution, battering the individual into exhaustive, repetitive drills which infiltrate both mind and body. The piece is an insight into military life with an integrity that reveals the depth of Kay's research.

There is a brief prologue of downtime for the five performers - four men, one woman - before these drills begin. At first it's interesting to see the similarities between soldier and dancer, the flexible proficiency, the stamina for repetition. But after a while you find yourself glazing over at the sheer doggedness of the rhythms, the machine-like precision. Your own brain flips into autopilot. A measure of how believable the world Kay has created is that the first time one of the cast breaks this pattern to mime holding a machine gun, the image feels shocking.

We also see the soldiers off duty. Here the gender divide is examined, when the pack of squaddies goes off on a lairy night out, posturing to dance music, while Harriet Ellis entertains herself in a solo dance. She has to fend off the group's collective lechery, but ends up falling for one, and their sensual pas de deux, to Pergolesi's Stabat Mater, while the other soldiers go about their business, is a poignant reminder of the lack of privacy in barracks.

Kay's focus is primarily on the preparation for and effect of trauma to the bodies of the soldiers, and she does not deal with the psychological impact of being commanded to inflict violence on others. But if this is a measure of the type of self-reflection the Army is willing to engage in, it's an encouraging one.
Army @ The Fringe in Association with Summerhall, until 26 Aug (not 21 & 22), 8.30pm, £12 (£10).

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There's been a fair amount of controversy over giving space, support and funding to work produced in co-operation with the Army this Fringe. But it would be wrong to dismiss Rosie Kay's nuanced, critical exploration of the life of a soldier as propaganda. Yes, Kay does draw compassion from us, for...

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For dancers as well as soldiers, injury is a risk of the job. At this performance, Rosie Kay's 5 Soldiers became four, without compromising the work's heart-pounding movement or its subtle web of relationships. Subtitled "the body is the frontline", it's a forceful reminder of how powerful these bodies are, and how fragile.

First created in 2010, 5 Soldiers is an extraordinary exploration of modern war as a physical experience. We watch Kay's soldiers as they drill, go off duty, go into combat and cope with the aftermath. The wider war is hinted in a crackle of broadcast news, but the stripped-down production focuses on these soldiers, these bodies.

Kay starts with literal experience. She drilled with soldiers and visited rehabilitation centres as she prepared for the work. This UK tour is presented in association with the British Army, performed in drill halls and barracks across the country. There's a documentary precision to scenes where the soldiers wait for action, bored or driven to action, and an explosive authenticity to the drill scenes. There are no macho heroics here, only clear-eyed observation of acts and consequences.

The dancers flog themselves through the military moves, then peel away into more personal solos, into fears and fantasies. The one woman is determined to be as tough as her male colleagues, to need no help. One man spins through a waltz with an imagined partner, until his ballroom hold morphs into holding a rifle. In down time, rivalries and sexual tensions emerge, only to be tamped down in time for combat.

The unit wait around a square of light, ready for a parachute jump that becomes a skydiving dance, a moment of floating freedom before they hit the ground. The discipline and fear of the action scenes is built from how hard those bodies have to work: crouching, turning, working over the ground again and again.

The most powerful scenes in 5 Soldiers concern injury and rehabilitation. One soldier is sent flailing and turning by an explosion, his comrades scrambling to help. Again, Kay makes the experience of injury feel viscerally real. Duncan Anderson's legs are strapped up to represent amputation, leaving him struggling to walk on his kneecaps. His recovery is a fight with his own body: his falls, his shaky balance. He forces himself against gravity and exhaustion as he finds new ways, not just of moving, but of reclaiming his identity as a soldier.

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5 Soldiers, Yeomanry House, London, review: Kay makes the experience of injury feel viscerally real

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For dancers as well as soldiers, injury is a risk of the job. At this performance, Rosie Kay's 5 Soldiers became four, without compromising the work's heart-pounding movement or its subtle web of relationships. Subtitled "the body is the frontline", it's a forceful reminder of how powerful these bodies are, and how fragile.

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See also the weekly columns
Wed 22/5

10.00-17.00: Tech Rehearsal

Thurs 23/5

10.00-12.00: Tech Rehearsal

13.30-16.00: Dress Rehearsal

19.00-20.00: Performance 1

Fri 24/5

AM: Independent Study

12.00-15.00: Performance 2

Fri 14/6 14.15: Deadline for Padlets

Work Experience:
w/c 17/6 or 24/6

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Work Experience & Coursework Interventions

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Work Experience & Coursework Interventions

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Work Experience & Coursework Interventions

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Work Experience & Coursework Interventions

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Tues 11/6 AM: GCSE Maths

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Tues 21/AM: GCSE Maths

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Wed 22/5

10.00-17.00: Tech Rehearsal

Thurs 23/5

10.00-12.00: Tech Rehearsal

13.30-16.00: Dress Rehearsal

19.00-20.00: Performance 1

Fri 24/5

AM: Independent Study

12.00-15.00: Performance 2

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Find FMP Padelt
Find an image about military life that interests
Find out what the Imperial War Museum is and one artefact or exhibition that interests you.
DUE: FRIDAY 1ST MARCH 2019

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What did you do?
How did you do it?
Why did we do it?

Remember:
We watched 5 Soldiers
We discussed themes and ideas
We developed contact skills
We made Physical Training scenes

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8/3/2019 Relationship Duets Performance B

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8/3/2019 Relationship Duets Performance C

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8/3/2019 Relationship Duets Performance D

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8/3/2019 Relationship Duets Performance F

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8/3/2019 Relationship Duets Performance G

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8/3/2019 Relationship Duets Performance H

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8/3/2019 Relationship Duets Performance H

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8/3/2019 Relationship Duets Performance I

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No Room For Clichés | Royal Air Force Advert 2019.

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What did you do?
How did we do it?
Why did we do it?

Drill
Learned different commands and movements used in drill.  Give examples. eg at ease, shun
Watched drill section of 5 Soldiers
Created own versions of drill thinking about spatial patterns, repetition, unison, changes in speed, solos

Monologues
Looked at the prologue of Frantic Assembly's The Unreturning
Wrote a short monologue about training/being in the army
Started a character profile
Read monologue to a few other people: got feedback and adapted
Storytelling - got feedback
Added monologue to the solo material of drill
What does this communicate?

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L2 Drill and Monologues 21 & 22 March 2019 - YouTube