Unit 12 by Winston Roberts

Stanislavski

winstonroberts4828 — 2023-03-08 10:09:53 UTC

Konstantin Stanislavski (Formally Known as Stanislavski) was born in 1863 and was a Russian theatre practitioner, he went on to be recognized as a talented character actor who with his various productions created a reputation as one of the best directors of his generation. His level of fame and influence is due to his system of actor training and rehearsal.

At the age of 33, Stanislavski had an 18 hour long conversation with Playwright Vladimir Nemirovich-Danchenko which lead them to the co-founding of the world-famous Moscow Art Theatre (MAT), There were landmark performances of The Seagull (1898) and Hamlet (1911-12) that established his reputation and opened up new possibilities for the art of theatre.

I previously mentioned Stanislavski's system for training actors, Stanislavski used the early 1900s to develop this method which equates to the art of experiencing, This practice teaches the actor to ignore their conscious action and thought to active their subconscious and uncontrollable psychological processes indirectly, this allowed the actor to not only learn the lines but understand why they're saying them by getting into the head of the character and thinking like the character.

Section 1 - Rationale (Approx. 150 Words)

winstonroberts4828 — 2023-03-22 11:16:20 UTC

Over the years, I've grown infatuated with the art of Screenwriting/Scriptwriting and the nuances, subtext of each story told. Our analysis and adaptation of 4:48 Psychosis is an example of how a controversial/subversive topic is handled with maturity, accuracy and sensitivity. I learned how to get comfortable with being uncomfortable; pulling from previous traumas can allow you to understand your character better in any given piece of performance arts.

I've explored elements such as physical theatre and mask work, helping me understand the importance of body language, different techniques such as Pinter's power of long pauses. Working with companies like 4th Monkey, Haste Theatre and Justice in Motion juxtaposing the traditional stage directions and dialogue approach which audiences are used to when viewing performances. We had to learn how to tell stories using our bodies, allowing audiences to be as captivated as if they were watching a spoken word piece helping me to understand that each small gesture simulates a paragraph, audiences are given the privilege to interpret each action in any context making these physical pieces feel like experiences instead of mere performances. Exploring different practitioners have helped me to create characters intentions and allowed me to push my characters to extremes and personally pushes my boundaries. These new found skills and many more explored throughout the course will be implemented into my new project.

Section 2 - Project Concept (Approx. 200 words)

winstonroberts4828 — 2023-03-22 11:17:07 UTC

Eight is the debut play of Ella Hickson, which focuses on eight different monologues from a variety perspectives of a lost generation with characters ranging from their late-teens to mid-thirties. The lack of shame, authority, purpose and most importantly self awareness/accountability all amalgamates to create a culture of nihilism and distraction. Hickson aimed to encapsulate this with a perspective of optimism which juxtaposes each individual characters sense of cynicism in their crushing realities

I aim to propose myself as a director, having an in-depth view into the psyche of each individual character while also trying to emulate these characteristics in my performers. Eight's monologues' are layered and introspective with each one lasting around 15 minutes, meaning that for their performance to feel realistic and powerful each actor will be required to study and method act these personas amongst peers with external direction.

For my directing skills to get better, I need to improve my collaboration skills. Learning to communicate efficiently in a respectful and simplified way is imperative in forming a peaceful work environment, allowing for an easier production and a better reception from actors. It's also important that I have a clear production plan including information such as set design, mood boards, roles assigned to team members. Observational skills are also imperative, noticing any potential quality of changes will bring you closer to perfection during the production stage.

Section 3 - Evaluation (Approx. 150 words)

winstonroberts4828 — 2023-03-22 11:17:44 UTC

Throughout my rehearsal process, I shall take time to reflect on my tonality during the monologue, my own self-critique, my pauses and my emotional depth. I'll make use of the padlet when it pertains to documenting each and every small detail in my progress as my character, using the limited resources in front of me. My goal is to give an impactful and unique take to the character of André while also retaining some of his defined characteristics in a way that reflects on the current culture of timidity and disrupted cognitive and emotional development when it comes to tackling difficult scenarios. For the Majority of my rehearsal and performance I worked in isolation, looking at unrelated content to pull ideas from. This has allowed me to create my own version of the character without the use of a mood board, with some planned and defined actions and some improved. I hope I'm able to convey my multi-layed message to whoever may view this piece.

Brecht Notes

winstonroberts4828 — 2023-04-10 22:09:44 UTC

- Marxist, Capitalism is broken, Equality.
- A Product of his environment
- Germany paid reparations to the allies after WW1, this combined with the wall-street crash crippled Germany's economy. Brecht faced poverty first hand which influenced his work.
- Brecht remained contrary against the national socialism and genocides of Germany's Nazi party. This subtext caused his work to be banned from Germany causing him to migrate to France.
-

Week 1 - Tuesday

winstonroberts4828 — 2023-04-18 13:16:21 UTC

Today, My group which consisted of Me, Daniel and Holly, analyzed the themes of Andre's Monologue in the play Eight.

After English, Me and Emi continued planning our workshop while studying Danny, Holly and Chloe's workshop (picking up on how they're able to retain the focus of the class, present themselves.)

Eight by Ella Hickson

winstonroberts4828 — 2023-04-20 13:47:57 UTC

Ella Hickson wrote her Debut play "Eight" which focuses on Eight different monologues from the perspective of young adults ranging from late teens to early thirties. It Symbolically focuses on the nihilistic, yet care free persona that Generation Y have collectively latched onto, while offering some introspection into how their traumatic situations have effected and altered their lives.

"Eight" was unique in fact that before each performance the audience would vote for the four monologues they wanted to hear out of the Eight available performances. The remaining performers would remain on-stage throughout, symbolizing to the audience that with every choice we make, we're choosing to leave something behind.

In May 2008, Each member of "Eight" attended Edinburgh University, Therefore allowing the group a free application for a fringe award (bestowed by Edinburgh University Theatre Company at the Bedlam Theatre). In August 2008, The show was performed and went on to win awards such as the Fringe First, the Carol Tambor Best of Edinburgh Award, and the NSDF Emerging Artists Award; which went on to host "Eight" for 3 Nights at the Pleasence Theatre, Islington which took place in October 2008.

Brecht Workshop III

winstonroberts4828 — 2023-04-21 09:57:50 UTC

Brecht Workshop I

winstonroberts4828 — 2023-04-21 09:58:24 UTC

Brecht Workshop II

winstonroberts4828 — 2023-04-21 09:58:38 UTC

What each character in Eight by Ella Hickson share in common.

winstonroberts4828 — 2023-04-21 09:58:47 UTC

Week 1 - Wednesday

winstonroberts4828 — 2023-04-21 09:59:51 UTC

Me and Emi had our workshop which went well overall, Emi taught the class about Brecht while I oversaw the whole process. I feel like it was a success, The class engaged well with the tasks.

After that, we looked through each different monologue and dissected each character in detail giving synopsis of their character and their motivations.

Andre Monologue Notes

winstonroberts4828 — 2023-04-21 10:04:01 UTC

- Andre's piece explores the life of his partner and how they contrasted between each other before his suicide, The Ying-Yang analogy he used can be interpreted as the Queer Paradigm and how its subverted. There's a rigid "one-size fits all" mentality non Queers have when looking at Queer People and Queer Culture. The seemingly Non challan nature of Andre finding his partner dead can symbolize the rapid nature of Queer Love. ("Here today, Gone Tomorrow") While he obviously misses his partner, the Writing Style carries a comedic and Informal tone contrasting this life altering even almost like this has happened before. This could imply that this was more one-sided or casual. On the Other Hand, The way Andre's quick to distract himself from the issue could be his way of processing the situation instead of facing it head on.

- Andre's partner kept him grounded, this is evident with the Ying Yang analogy. This utter refusal to play into the stereotypes that society has set for LGBTQ People, could be seen as a sign of contrarianism or internalised homophobia. (he might want to distance himself from his identity because he feels sexual shame possibly due to some early childhood trauma / bullying causing him to cocoon himself due to some potential anxiety (his fear is a possible factor to his suicide)) On the other hand, André's partner might feel a sense of exclusion from his other peers, his inability to fit in with queer norms that sent him on a path away from what he might consider "immature." (which could be related to his contrarianism).

How stress affects the human body.

winstonroberts4828 — 2023-04-26 14:10:42 UTC

When you get stressed, it reflects in your body when your muscles tense up. Muscle tension is an inborn reflex when the body goes through chronic stress, it's purpose is to protect your body from injury and danger. When your muscles are tense for a long periods, this may cause other reactions of the body, including stress-related disorders such as heart disease, asthma, obesity, anxiety, depression, eczema, PTSD, stomach ulcers, and in addition, breast cancer, colorectal cancer, lung cancer and esophageal cancer.

Stress and intense emotional triggers can affect the respiratory system in a variety of ways; like a sense of breathlessness, or hyperventilation. People without any respiratory issues don't face this problem, as the body can manage the additional work to breathe efficiently. but psychological stressors such as Anxiety, Depression or Burnout could intensify pre-existing breathing problems such as asthma, emphysema and chronic bronchitis.

The cardiovascular system is comprised of two elements, the heart vessels and blood vessels, they provide nourishment and oxygen through out the entire body. These elements are also linked to the body's response to stress. Acute stress (Immediate , Short term stress) can cause an increase in heart rate and strong contractions of the myocardium (heart muscle), while stress hormones such as adrenaline and cortisol act as messengers for these effects. The blood vessels that direct blood to the large muscles and heart start to dilate, causing an increase in blood pressure, This also known as a fight or flight response.

The Male and Female reproductive system is heavily affected by stress. Excessive levels of cortisol can have an affect on the biochemical functioning of the male reproductive system where as it mainly affects menstruation in adolescent women, high stress levels can affect menstrual cycles. Prolonged stress over a period of time, can decrease levels of testosterone production in males and decrease estrogen in females, this will result in the decline of sexual libido, even causing impotence amongst males. The decrease in estrogen may cause symptoms of depression which is shown to also halt sexual desire. Procreation is also heavily affected by chronic stress, Researchers have found that men who experienced two or more traumatic events in the past year had a lower sperm volume, lower percentage of sperm mobility, and smaller penises compared with men who haven't experienced any stressful life events. In females, stress can have an impact on a woman's ability to conceive and the overall health of her pregnancy, Excessive levels of stress can cause depression during and after her pregnancy, a woman with high maternal stress can negatively impact childhood development in her offspring, causing disruption in the bonding between a woman and her child in the weeks, months maybe years following delivery.

Stress can be managed in a variety of ways such as having a healthy social circle, engaging in routine physical exercise, getting a good sleep every night or deep breathing.

Week 2 - Thursday

winstonroberts4828 — 2023-04-27 10:16:36 UTC

We started the session by combining our sections of the piece and forming the structure. The Majority of the lines are divided into groups of 2 - 3 per character, we dissected the characters stories in order to form our final script.

We darted from character to character, forming a good flow that doesn't feel conjoined but feels natural to read. The goal isn't to have an amalgam of lines but it's to create a unique performance out of the material already written. The class collectively solved problems.

winstonroberts4828 — 2023-04-27 14:04:44 UTC

winstonroberts4828 — 2023-04-27 14:05:09 UTC

winstonroberts4828 — 2023-04-27 14:05:30 UTC

winstonroberts4828 — 2023-04-27 14:06:38 UTC

Monologue Section

winstonroberts4828 — 2023-05-24 09:09:18 UTC

More Camera Angles

2023-06-07 12:13:09 UTC

- Long Shot: Contains the person’s entire body in the frame.

- Medium Shot: Framed from the knees or waist up from the subject.

- Close Up: The subject’s face occupies most of the frame.

- Extreme Close Up: Used to pick up a subtle detail in one’s facial expression.

- High Angle: The camera is raised above the subject and is tilted down at the subject.

- Low Angle: The camera closer to the ground and points up towards the subject.

- Over the Shoulder: The camera is behind the subject as he/she is facing another person.

- Point of View: The perspective of the person in the scene.

- Pan: The camera is locked on a fixed point but follows the subject horizontally.

- Tilt: The camera follows the subject while being locked onto a fixed point.

- Aerial Shot: The camera is high above the subject.

- Tracking Shot: The camera is able to move to follow the subject.

Character Profile

2023-06-07 12:13:29 UTC

Andre is distraught but he hides it with humour, he reacts to his partners suicide like he's having a conversation with a friend, this is seen with his casual structure through out his Monologue. He tries to distract himself by discussing unrelated issues (such as the Hermes scarf) instead of facing his emotions about his boyfriend's suicide, this could represent the first stage of grief (denial).

Andre describes his partner like he's long lost love or like a distant memory instead of as the man he loves hanging from a makeshift rope.

Developmental Change

winstonroberts4828 — 2023-06-15 11:36:03 UTC

How an individual embraces change is the essence of their existence and the key to ones happiness.

"Life is a flux" Heraclitus - 500 BC. The Greek philosopher highlighted that life flows ever onwards, the very nature of life is change, to resist this natural flow was to resist the very essence of our existence. “There is nothing permanent except change,” he said.

Change and the acceptance of change is heavily linked to the idea of Stoicism, John Sellers wrote in his book: Lessons in Stoicism that “Stoics believe that nothing is stable, and we need to come to terms with that. The natural world is made up of a series of processes that are changing, but if we want to live happily with nature we have to live in harmony with it.” And in fact, he says, Stoicism is not so much about resisting change as facing up to it. Everything changes, the question is, do we change with it?” says Sellars. “Stoics say we don’t have any choice, we can’t fight it.”

Guilt

winstonroberts4828 — 2023-06-15 11:36:10 UTC

Guilt is the feeling of deserving blame especially for imagined offenses or from a sense of inadequacy. Sigmund Freud suggests that humans experience guilt initially from parental punishment. Others might theorize that it comes from an empathetic sense of love and compassion toward your fellow man. It's due to feeling responsible for harming something you find worth in.

There are various types of guilt:
- Deontological: Guilt that results from breaking personal values or morals.
- Altruistic: Empathetic guilt from causing harm to someone else.
- Existential guilt: Experiencing guilt for not living up to your personal expectations and life purpose.
- Non-related guilt: Guilt that arises without a clear relationship between your actions and an outcome (e.g., survivor guilt)
- Inequality guilt: A sense of guilt based on circumstances of imbalance (e.g., gender bias or racial discrimination).

Sometimes, you may feel guilty for something you didn't do directly. Guilt is a natural response which can motivate some internal growth, However, a persistent feeling of guilt may indicate a mental health condition, these could include; anxiety, depression, PTSD, OCD, dysphoria (body or gender) or an eating disorder.

Signs of guilt can include:
- low self-esteem
- excessive attempts at reparation
- being unable to meet someone’s gaze
- facial flushing
- anxiety
- trouble sleeping
- nausea
- headaches
- depressed mood
- avoidance of people, places, or events linked to the cause of guilt
- shifts in energy levels
- emotional outbursts
- appetite changes

While it might be difficult, it may be necessary to make amends with enemies and face these challenges head-on.
Amends can be verbal, written, or done through action. Asking what you can do to “make things right” may also provide some insight.

FMP PERFORMANCE

winstonroberts4828 — 2023-06-15 12:40:41 UTC

I played the character of Andre from the play Eight by Ella Hickson.

My take on Andre is unique in the fact that I use elements of melancholy, frustration and nihilism in contrary to his charismatic, distracting, bubbly nature which he implements to hide his pain.

00:00 - 01:09: I play with my ring, slightly shake my head and overall possess an assumed lack of care. I transformed Andre into a defeated man, there's a sense of deflation mixed with nonchalance in his body language and micro expression, this is to show that he's used to being hurt and this isn't an emotion exclusive to this situation, He's numb so while he may seem unbothered, I put my hands on my chest while reminiscing his hopes, It's difficult for him to say the words "Prince charming and Prince charming", almost like he's forcing the words out

01:10 - 01:58: I swing my arms like a pendulum, disengaged, disinterested and my head is tilted to represent how drained and floppy Andre feels in this moment like a marionette being held up by string, the way he details the situation of his boyfriend feels he's being forced to open up (the short pause between 01:14 - 01:15 expresses his hesitation.)
(01:21 gaining a sense of frustration as talks about the situation not being the happy ending he was anticipating.)
Taking my hand off my jewellery when talking about the scarf signifies the idea of trying to soldier forward instead of dwelling on the way he feels about his boyfriend, the way he holds it shows he's holding onto him not in physical form but spiritually. I put my hand on my back to represent the weight that the scarf had to hold up and equating it to the back pain from the stress and emotional pain.

01:59- 03:14: I pause and gesture (01:58 - 02:03) to show He's running out of things to say about his boyfriend and that he's just collecting thoughts for a second. the line "he cant be up there like that" is a double entendre in reference to him hanging up by the Hermes scarf and him being in heaven. the way i deliver the line is supposed to show his co-dependence and the inconvenience his absence is causing Andre, My eyes are looking up darting back and forth, looking at the body and his boyfriends soul in heaven

Antonin Artaud

winstonroberts4828 — 2023-06-15 12:42:48 UTC

Antonin Artaud (4 September 1896 - 4 March 1948) was described as being a avant-garde and was somewhat of a Jack of Trades with his huge amount of specialities, Artaud was a French born writer, poet, actor, director, dramatist, essayist and visual artist, He was widely commended as a huge figure of early 20th Century Theatre.

Artaud was mostly known for his experimental texts with raw, surreal and transgressive themes of introspection, drug use, unorthodox political ideologies, and his experiences with mental health (specifically schizophrenia.)

Artaud is known for spawning the influential "Theatre of Cruelty", where artists assault the various senses of the audience. Artaud didn't want to be restricted by the tradition of having: a stage, an auditorium, sets and props, Artaud was left with an empty room with the audience seated the center of the room while actors perform around them.

BRECHT

winstonroberts4828 — 2023-06-15 12:43:10 UTC

Bertold Brecht (formally known as Eugen Berthold Friedrich Brecht) was a well-known German playwright and theatre practitioner.
His work was mainly influenced by the sociopolitical issues and events going on around him.

He wanted to provide the audience entertainment and provide them an opportunity to think, but most importantly he wanted to distance the audience from the action allowing for opportunities for him to implement elements of direct address and epic theatre.

I feel like Brecht was ahead of the curve when it came to immersing the spectator into a story as we see most of Brecht's elements inserted in today's film and theatre.

Berkoff

winstonroberts4828 — 2023-06-15 12:43:17 UTC

Berkoff is an actor, author, playwright, theatre practitioner and director most known for his formation of the genre of "In yer face" theatre, his philosophy as a director was to illuminate the text instead of merely presenting it: using elements of over exaggeration in relation to facial expressions, accent and movement; he also had the fair share of controversial material in his monologues.

Bibliography

winstonroberts4828 — 2023-06-15 12:51:56 UTC

Developmental Change:
Why embracing change is the key to a good life - BBC Culture

Berkoff:
Steven Berkoff - Wikipedia

Brecht:
Bertolt Brecht - Wikipedia

Antonin Artaud:
Antonin Artaud - Wikipedia

Guilt:
https://psychcentral.com/health/what-is-guilt#guilt-when-its-not-your-fault

How stress affects the human body:
Stress effects on the body (apa.org)

Eight by Ella Hickson:
Eight (play) - Wikipedia
Ella Hickson - Wikipedia

LECOQ:
Jacques Lecoq - Wikipedia

7 Levels of Tension:
Seven Levels of Tension - Drama Resource

LECOQ

winstonroberts4828 — 2023-06-15 13:00:18 UTC

Jacques Lecoq (1921 - 1999) was a French actor and movement coach, His previous experience in sports studies served as a baseline for his works in physical theatre, movement and mime which he taught at École internationale de théâtre Jacques Lecoq (which he personally founded) from 1956 till his death.

Lecoq taught students according to their specific strengths with various tasks and exercises to increase the self awareness of their strengths as a professional actor. The extensive rehearsal period provided to students allows for the physical and visual aspects of skillbuilding under his guide and supervision

I think Lecoq helped to revolutionize the way actors are trained and productions are created, Theatre groups such as Justice in Motion and 4th Monkey take heavy inspiration from Lecoq's approach.

7 Levels of Tension

winstonroberts4828 — 2023-06-15 13:59:21 UTC

Jacques Lecoq discovered seven points of tension which were tweaked by him and other talented practitioners. These archetypes are seen as guidelines for any given actor to dance around with while exploring scenes, therefore smoothing out the production time and allowing for easier experimentation.

1: Exhausted (a.k.a The "Jellyfish") There's zero tension in the actors body, completely relaxed, Even speaking requires a lot of effort.

2: Laid Back (a.k.a The "Californian") This a mundane and non-chalant state, lacks credibility (often reserved for comic relief characters).

3: Neutral (a.k.a The "No Story") The actor lives in the moment, completely present and aware. It's the state of tension before any sort of action.

4: Alert (a.k.a Curiosity) These are subtle, sometimes observant non-verbal characteristics, aware of your surroundings yet undecided, and sometimes clumsy and buffoonish.

5: Suspense (a.k.a The "Melodrama") The action is about to happen, There's a sense of tension in the body, concentrated between the eyes. There's a delayed reaction.

6: Passionate (a.k.a The "Opera") There's an explosion in tension, Hard to control discomfort, fear, anger. There's an obstacle to confront and overcome.

7: Tragic (a.k.a Petrified) Body paralysed by fear and tension.

André annotations.

winstonroberts4828 — 2023-06-15 18:35:34 UTC

Feedback 01

winstonroberts4828 — 2023-06-15 18:59:32 UTC

Feedback 02

winstonroberts4828 — 2023-06-15 18:59:58 UTC

Feedback Implementation

winstonroberts4828 — 2023-06-15 19:13:55 UTC

- I enabled myself to step out of myself and into the character, eliminated small mannerisms like putting my hands in my pocket.

- I shortened my use of ad-libs (pauses, sighs)

Meisner Technique

winstonroberts4828 — 2023-06-15 19:59:08 UTC

In 1935, Sanford Meisner joined the faculty of The Neighbourhood Playhouse School of the Theatre (a full-time professional acting conservatory, located in New York City) and developed what is now known as the Meisner Technique. The intention is to grant the actor an opportunity to concentrate on the other people in their environment.

These were split into three different components: Emotional preparation, repetition, and improvisation.

Emotional Preparation is the preparation Meisner believed
actors were required in-order to create the scenarios in this character's life. Meisner believed that an actor needed to the portray the full emotional range of the character to be interesting. What makes a character joyous, what upsets them, amongst other complexities.

This technique aided actors in understanding the emotional life of their character and strengthening the contention with a characters past and present experiences. The preparation helps the actor react naturally instead of as a character, instead of acting distraught or happy you actually feel those emotions.

The Repetition Exercise helps to train how an actor responds to a given action or circumstance. Two actors would be required to face each other and practice repetition while applying the Meisner Technique, repeating the same phrase over and over again while tweaking the tone, intensity and emotion with each alteration while the words stay similar or identical. The actors are able to exit their comfort zone and develop their spontaneity, therefore allowing for truthful performances.

The Repetition Exercise allows actors to focus on their emotional responses instead of the words of dialogue. Instead of seeing performance as the act of illusion, Meisner wanted actors to become their characters as opposed to it being a mere persona.

Improvisation allows you as an actor to train your spontaneity by acting before you think. Meisner's form of improvisation includes actors expressing what their given character would do based on emotional connection and pure instinct.

Meisner Workshop

winstonroberts4828 — 2023-06-15 20:07:11 UTC

Danny, Chloe, and Holly chose Meisner for their workshop. Meisner works with a lot of naturalism incorporated into his techniques, and the one they chose is called the repetition exercise.

This exercise helps force an actor to draw on their natural reactions, instead of pre-empting a response. It makes each performance unique and real and helps give it a sense of naturalism instead of it feeling scripted to the audience watching. It takes actors out of their comfort zones and forces them to completely take on the idea of their character instead of what the script says to do. This completely strengthens the actor's perspective of their character.

Alexander Technique Workshop

winstonroberts4828 — 2023-06-15 20:09:55 UTC

We did a workshop on the Alexander technique, which is an educational process that helps actors to overcome habitual limitations in movement and thinking. As humans, we carry tension in many different parts of our bodies and this technique helps you rid your body of them.

I would take this technique with me in the future as a way to reset between characters. It helps rid you of your habits and makes you a blank slate for whatever character you want to portray.

Stanislavski Workshop

winstonroberts4828 — 2023-06-15 20:10:27 UTC

We did a workshop based on Stanislavski's 'Magic If'. The Magic If is a tool that helps an actor to develop their character, asking questions and discovering new elements that can be used any time they approach the creation of a role.

From this workshop, I felt like I had gained a new way of really developing my character. With this method, I could gain a deeper understanding of what kind of person I'm playing, getting to know their thoughts, feelings, and raw emotions.

I would definitely use this technique in the future to develop and get to know the character I'm playing since it has been so effective for me.

Outfit For the Performance Notes

winstonroberts4828 — 2023-06-18 18:47:27 UTC

- the Bandage on my arm was supposed to represent how André feels wounded by the death of his partner, in the original piece André tries to hide his pain through humour , while in my adaptation of the monologue, he uses a bandage to show that he feels wounded emotionally while not letting anyone see the full extent. This is the common approach for people who are depressed, suppressing or obscuring the issue with everything else except the solution which is to work through it preferably with external support. A more literal explanation of the bandage is a representation of a karmic cycle, since we know nothing about his boyfriends previous suicidal ideation or the reason for his suicide, I made the assumption that they weren't happy with eachother and most importantly themselves. Andre represents a half measure and his deceased partner represents a full measure.

- the white and orange t-shirt shows that André wishes he was happy and things were better in his life, giving an aura of blind optimism even if it's not reflected in his words. white represents peace, optimism and purity, In some Eastern cultures white represents mourning. Orange can represent positive cheerful energy. this could be why his boyfriend committed suicide and he didn't, Andrés fascination with brightness whether that's mood or colour has tricked his mind into feeling better and being perceived as happy when it's the opposite way sometimes.

Problem Solving

winstonroberts4828 — 2023-06-18 18:48:43 UTC

- It was difficult for me to have a smooth rehearsal process due to outside factors such as part-time work, requiring me to sometimes have to read through lines during my break instead of at a designated time which would allow for more focus and accuracy.

- Another barrier in my way was the lack of recording equipment such as a microphone, camera, etc, making it hard for me to look at my rehearsals and get a better understanding of my strengths and weaknesses in my performance.

- My main problem was being alone during the whole process, being around other actors allowed me to make comparisons between me and other peers which allowed for me to not only the development of a friendly, yet competitive, rival like spirit but some collaboration. The lack of that required me to watch over some performances of the same scene I was interpolating.

Camera Movement

2023-06-18 19:43:48 UTC

Good cinematography is about choosing the right shots for your project.

shot sizes:
-- Shot size refers to how big or small the frame is in relation to the subject.
- types of shot sizes; close up, long shot, mid shot, single shot, two shot, three shot and the POV shot.

camera angles:
Once you’ve decided on a shot size, you can add a bit more perspective to your shot by choosing an angle. The camera angle can help you create a sense of fear, empathy, or disorientation in the viewer.

- types of camera angles; eye level, low angle, high angle, birds eye view, dutch angle & over the shoulder angle

camera movements:
By adding motion to a scene, you can move between camera angles easily, sometimes even within the same shot.

- types of movements; pan/tilt, whip pan, tracking shot, dolly shot, crane shot, zoo shot, 360 degree

I think using different camera movements can lead to different perspectives on a scene. When using a close up shot, you can see more of the characters facial expressions, which helps the audience understand how they are feeling. Using a long shot can help the audience uncover the body language of the character, which then helps defer their attitude.

Camera Angles in TV and Film

2023-06-18 19:50:21 UTC

Aerial Shot
An exterior shot filmed from — hey! — the air. Often used to establish a (usually exotic) location. All films in the '70s open with one — FACT.

Close Up
A shot that keeps only the face full in the frame. Perhaps the most important building block in cinematic storytelling.

Medium Shot
The shot that utilises the most common framing in movies, shows less than a long shot, more than a close-up. Obviously.

Long Shot
A shot that depicts an entire character or object from head to foot. Not as long as an establishing shot. Aka a wide shot.

Deep Focus
A shot that keeps the foreground, middle ground and background ALL in sharp focus. Beloved by Orson Welles (and cinematographer Gregg Toland). Production designers hate them. Means they have to put detail in the whole set.

Dolly Zoom
A shot that sees the camera track forward toward a subject while simultaneously zooming out creating a woozy, vertiginous effect.

Dutch Tilt
A shot where the camera is tilted on its side to create a kooky angle. Often used to suggest disorientation. Beloved by German Expressionism, Tim Burton, Sam Raimi and the designers of the villains hideouts in '60s TV Batman.

Establishing Shot
The clue is in the name. A shot, at the head of the scene, that clearly shows the locale the action is set in. Often comes after the aerial shot. Beloved by TV directors and thick people.

Handheld Shot
A shot in which the camera operator holds the camera during motion to create a jerky, immediate feel.

Low Angle Shot
A shot looking up at a character or subject often making them look bigger in the frame. It can make everyone look heroic and/or dominant. Also good for making cities look empty.

High Angle Shot
A shot looking down on a character or subject often isolating them in the frame. Nothing says Billy No Mates like a good old high angle shot.

Locked-Down Shot
A shot where the camera is fixed in one position while the action continues off-screen. It says life is messy and can not be contained by a camera. Beloved by Woody Allen and the dolly grips who can take the afternoon off.

Over-The-Shoulder Shot
A shot where the camera is positioned behind one subject's shoulder, usually during a conversation. It implies a connection between the speakers as opposed to the single shot that suggests distance.

POV Shot
A shot that depicts the point of view of a character so that we see exactly what they see. Often used in Horror cinema to see the world through a killer's eyes.

Steadicam Shot
A shot from a hydraulically balanced camera that allows for a smooth, fluid movement. Around since the late '70s, invented by Garrett Brown. Beloved by Stanley Kubrick, Brian De Palma, Martin Scorsese, Alfonso Cuaron.

Tracking Shot
A shot that follows a subject be it from behind or alongside or in front of the subject. Not as clumsy or random as a panning shot, an elegant shot for a more civilised age.

Whilst blocking my scene for my performance, I decided on two alternating camera angles. One camera held a full frontal MS, while the secondary lens on the diagonal captured a clear MCU. This was to represent the intimacy of the dialogue.

Researching these varied camera shots gave me an insight into how cinematography is used in screen acting to communicate alongside a piece's performance.

Stage VS Screen: A Comparison of Acting Techniques

2023-06-18 19:53:17 UTC

Whilst rehearsing for our film shoot, I took note of multiple differences between screen and stage theatre:

1. Facial Expressions and Body Gestures

The biggest difference between acting for stage versus acting for screen is the location of the audience. In a theatre, the stage tends to be far away from the audience. Depending on the size of the theatre, the actors need to exaggerate their facial expressions and gestures so even the patrons in the back row can see what’s going on. For example, actors cannot express sadness with just a single tear onstage, since only the audience members closest to the stage will see it.

When acting on screen, however, the camera can get extremely close to the actor, which closes the gap between the audience and the actors. Because of the close-up perspective, actors on film must use more subtle, controlled, and natural expressions and gestures. Large, exaggerated “stage acting” can look awkward and silly on screen.

Choose a short scene or monologue, and perform it twice–once for “stage” and once for “screen.” For the stage version, use large, exaggerated gestures to reach the back row audience members. For the screen version, use small, controlled expressions. Use a video camera or cell phone to record the two performances. Zoom in on the actors while recording the screen version and stand farther away while recording the stage version. Compare how your facial expressions and gestures change when your audience (or camera) is close vs. far away. Are you over-the-top, too subtle, or just right?

2. Voice and Volume

For each live theatre performance, actors have just one chance to get it right! That’s why it is so important to have a strong and healthy voice, and to ensure that lines are memorised. Depending on the show or production budget, microphones may or may not be used during a performance. Even with a microphone, actors must practice and perform their lines accurately each time, with crisp diction and clear enunciation. In musicals, actors must get their notes and lyrics correct on the first try. There are no do-overs during a live theatre performance!

For screen performances, actors have multiple “takes” to get a scene right. If they slur their diction, stumble over a line, or mess up the words, they can do the scene again. Film and television sets have microphones everywhere on the set to pick up the lines. In post-production, actors frequently go back to re-record lines to fix any errors that they made during filming.

Choose a short scene or monologue and perform it twice. First, record yourself performing the scene for film. Concentrate on accurately, projected lines. Do as many takes as needed to get the lines letter-perfect. Next, record yourself performing the scene onstage in front of an audience. Follow up your stage performance by presenting your filmed performance to the class. Compare how your expressions and delivery change in the two performances.

3. Preparation and Performance

In theatre, performances happen in real time. Stage actors spend many rehearsal hours developing their characters’ personalities and quirks, and spend even more hours memorising their lines so they can be performed in the sequence of the show. Despite all this preparation, stage actors need to be quick on their feet in case something goes wrong (which, in theatre, it often does!). A missed cue, a forgotten prop, a dropped line or a wardrobe malfunction–no matter what, the show must go on somehow! Giving live performances can be taxing on stage actors. They must deliver the same performance with new energy each time they perform, to get the job done.

In film, performances do not happen in real time. If an actor flubs a line, it’s easy to refer to a script and fix the mistake on the next take. However, one challenge of film acting is that scenes are often shot out of sequence due to budgetary concerns, time of day, or weather. An actor may have to perform an intense scene with lots of running and screaming immediately followed by a happy scene with laughing and smiling. There is little time in between to mentally “re-set.” This can be emotionally draining on an actor. Screen actors must also be prepared to deal with impromptu script changes. Film actors must often memorise a whole new section of script on the fly.

Vocal elements

2023-06-18 19:56:11 UTC

Using Vocal Elements To Enhance Characterization

When choosing a voice for a role, you need to study the script and the playwright’s description of the character. Vocal elements is a technique that really helps me play with the text, some I can just speak in almost one way, but implementing pace, pauses, helps me with rhythm and to break up the text and help to find intention. There are several things to consider.

Age

Is the character young, old or middle-aged?
Would their voice be deep and mature or young and light?

Personality

What kind of person is the character, are they shy and quiet or loud and domineering?

Accent

Is the character from a specific country/county? Wherever they're from, you'll need to master the correct accent.
You can also use Received Pronunciation (RP), which is the standard ‘neutral’ English accent, if the character’s accent isn’t specified.

Mannerisms

Should the character have specific vocal mannerisms, eg a nervous cough or giggle, lisp, a booming laugh or a squeaky tone?

Register

Does the character speak with a low or high register? Usually, low registers are used to show softness and kindness and are used by mature characters.

Type of performance

Is the play a comedy or a tragedy? Your vocal choices must blend in with the overall tone of the play.
Is your performance a vocal one only? Remember, if the audience can't see you, you can’t rely on facial expressions or body movement to enhance the dialogue.
Are you providing a voice-over or narration? If so, you’ll need to ‘overdo’ your vocal work slightly, making sure that it conveys as much as possible to the listener.

Action Plan

winstonroberts4828 — 2023-06-18 21:04:17 UTC

Week 1, April 17th - April 21st: Annotate the Script and use those annotations to slowly build a unique version of the character of André: I'll need to analyse the script in-depth and pick out key information.

Week 2, April 24th - April 28th: Learn my lines, while also playing around with body language, pauses and tones: I'll have to trail certain ideas in order to see the approach I'll use on camera.

Week 3, May 1st - May 5th: Planning my outfit in a subtle, seemingly unplanned way: look at characters in film and mimic those patterns in styles to match my own.