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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 , 

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, 

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

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

Practitioners

Berkoff

Brecht

Complicite
DV8

Forced Entertainment

Stanislavki

Kneehigh

Frantic Assembly

Grotowski

Punchdrunk

Artaud

Peter Brook

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.

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 

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.

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

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.

 

In our exploration of physical theatre, we were shown works of 

Stephen Berkoff

Pina Baush 

DV8 phisical piece 

We then had to create a Venn diagram highlighting the distinctions as well as the overlaps between the three, if there were mutual factors connecting their work. 

In the work of Berkoff, who is an intense director who is still practicing today, we saw him running on the spot and attempting to both interact with fictitious characters whilst breaking from this extended speech by punctuating it with insights and expressing his internal conversations. It made use of gesture as well as pauses, and a host of other theatre devices. 

Pina Baush explored an interpretation of a more known theatre piece; it was only original in as much as she decided to process it in a new and refreshing way. She used the idea of actors running into walls, repeating these same movements, even to the point of exhaustion, but with no or minimal speech. There was some partner work as well as choreography (pre-ordered pieces) being explored. It created an intense atmosphere. 

DV8 theatre was a very precise, placed and accurate piece of work using both dynamic gesture, finely tuned movement and intensely exact group movement. It was particularly smart in as much as it required, demanded but also executed very well, its message being delivered, as they explored themes of heterosexuality and gender in addition to a few other themes. 

In all the pieces, there was use of gesture and people thinking out loud to make their thoughts clear and known to the public. The distinct piece was Pina Bausch who all along, exploited repetition, having actors do what they needed whilst telling a story throughout. It emphasised the idea. 

"a requiem was held for the dead queen"

At the beginning of every session we are completing an intense predatory workout entitled

 

 Squats

Box Jumps 

Mountain Climbs 

Press Ups 

Sit Ups

Lunges

Planks

Windmill 

 

Each week we complete these and then progress to a higher number in order to build up our overall body strength and core control, which is going to come into play later in the play as we develop our strength; and create sets using our own bodies 

 

 

1^st week 

(7 January)

Few people were here on the first day so they went over the script and completed pallet work

Tuesday 8 January, we went through Pacing in the shared session; the idea of dynamics and sounds etc; how intensity can be found in our performances

Friday 11 we went through the script breaking it up and unpacking some of the key themes that are contained within; we were also urged to consider how we might actually embody the play itself 

 

2^nd Week

Mon 14 we finally began building the set and thinking about how it might be worked into the performance; we also have to consider how it will work alongside the other age groups 

Tue 15 we explored different movements after being given a sheet breaking down different actions or gesture and being asked to devise something … material to accompany them 

Fri 18; we broke down the script and began to highlight exactly what section were to perform; 

 

3^rd Week

Mon 21; on Monday we went through the seating arrangement for it; we started to begin the play and it was decided that we would begin by utilising both hymn hands and Round By Through in our opening sequence, with the tower itself being a chair 

Tue 22 we watched requiem for a dream, and then began to explore the idea of addiction as it was explored throughout; we showed our technologic performances; 

Fri 25 this was a key day as we built upon our weekly 300 and gave the script a few speeds through (speed reads) and also asked key questions about how we would stage everything ; we also went through Antigone and began to think through how motivations and objectives influence the piece 

 

28/01/19 

Mon; in this session we looked at key cities in the world and then developed a monument that would coincide with them; 

https://www.gradesaver.com/the-wretched-of-the-earth/study-guide/summary

 

Agnes’s Jacket: A Psychologist’s Search for the Meanings of Madness by GFail Hornstein

http://www.gailhornstein.com/_i_agnes_s_jacket__a_psychologist_s_search_for_the_meanings_of_madness__i__78419.htm

 

https://www.susanrosenthal.com/articles/mental-illness-or-social-sickness

Cohen challenges the theory that the pharmaceutical industry’s lust for profit is the primary driver for psychiatry’s increasing authority or ‘hegemony’ over society. He also disputes the claim that growing inequality and loss of social support are causing more people to become ‘mentally ill.’ Instead, he applies the marxist method to reveal how psychiatry serves the capitalist system. To summarize his argument:

 

https://www.madinamerica.com/2017/03/psychiatric-hegemony-marxist-theory-mental-illness/

 

The Protest Psychosis: How Schizophrenia Became a Black Disease by Jonathan M. Metzl,

https://academic.oup.com/shm/article-abstract/24/1/194/1680206?redirectedFrom=fulltext

A white home-maker from Nashville, Michigan, who begins to neglect her house and family and then suddenly claims that they are strangers; a white Navy veteran from Flint, Michigan, who had sex with his sister; a black draftee from Detroit arrested for defending himself from white men's unprovoked verbal and physical taunting of a black man in an army uniform. What do these three people have in common? Besides a diagnosis of schizophrenia, very little, and that is precisely the point of Jonathan M. Metzl's provocative and compelling study of the disease. In this insightful and persuasive study, Metzl demonstrates how the diagnosis, perception and treatment of schizophrenia changed radically in the context of the Civil Rights Movement.

https://www.psychologytoday.com/us/blog/side-effects/201005/how-schizophrenia-became-black-disease-interview-jonathan-metzl

Charts emphasized the negative impact of "schizophrenogenic styles" on these women's abilities to perform their duties as mothers and wives.

To say the least, these patients were not seen as threatening. This patient wasn't able to take care of her family as she should, read one chart; another, This patient is not well adjusted and can't do her housework; and another, She got confused and talked too loudly and embarrassed her husband.

Overview - Schizophrenia

https://www.nhs.uk/conditions/Schizophrenia/

 

Doctors often describe schizophrenia as a type of psychosis. This means the person may not always be able to distinguish their own thoughts and ideas from reality.

 

 

The Divided Self by Ronald Laing 

Laing’s first book, The Divided Self, was his most concerted effort to show why psychiatrists, and for the most part psychoanalysts, have misunderstood the kind of suffering that people labeled schizophrenic, say, are experiencing, and why psychiatric nomenclature does little to help us understand the phenomena so labeled. If what psychiatrists believe they are treating is, as Laing suggested, not schizophrenia, or any form of psychopathology, then what is it they are treating? And why are we calling the activity we are engaged in treatment, or its derivative, therapy?

Ch2 …cannot be understood without understanding despair