Sunday, 29 November 2015

Medea

When we were introduced to Medea we noticed that it was a different type of text to what we normally did. We were put into groups of 2-3 and we had to read the sections we were given by Sharron and split those sections into lines for each person in the group. My group had a section of being the voice of Medea. In my group there was Dedan, Segun and I. We all picked out the lines we wanted to say and we put it all together.

During one of the lessons with Sharron, we were given 5 minutes to practise our lines with our group before we came together and sat on the floor to read the whole script together.  Firstly, we started off by normally reading our lines without looking at the script to test our memory. Then, we stood up and in chronological order and we said our lines using clear voices and our diaphragms. This was to help us practice our articulation and projection.

After practising on Monday’s lessons with Sharron, we were told we had to put our own interpretations of the sections into a whole group performance for our assessment. We were all quite confused as to how we were going to do that. In order to get used to the stage directions and the balancing of the stage, we played a game to get to those stage directions. Sharron was shouting out the stage directions and we had to run as fast as we could as a bundled group. This informed us on where to go and memorise the staging. Then we got together and came up with ideas of how to combine these little sections into a whole script which in my opinion was quite confusing. Due to the fact that there were about 23 of us in that room it was hard to get ideas in because we were all speaking over each other and others weren’t concentrating so it got a bit frustrating but in the end we managed to come up with a performance ready for Sharron to see and assess.


I thought that our performance wasn’t as neat as it should be because it was quite last minute as on the day of the assessment nobody knew we were even going to be assessed. There were some students who hadn’t learnt their lines yet so they had no choice but to use the script which made us look unprepared and unprofessional. Moreover, the transitions weren’t quite clear to some of us however we all managed to remember our positions throughout the performance.

Saturday, 28 November 2015

Lion King Review

On the 18th November, the Year 1 and 2 Musical theatre classes and some of Year 1 drama class went to the Lyceum Theatre in Covent Garden to see the Lion King. It is based on the Disney animated movie. I thought that it was a truly inspiring theatrical experience and I felt as if I got to connect with the characters because I personally love Disney films so being able to see it in a theatre live was just a whole new experience that I extremely enjoyed. However, I was sitting on the upper stall looking down on the stage and I didn’t really like where I was sitting because people were In the way of the stage and I couldn’t see most of the show. If I was seated at the bottom I would’ve gotten a better glance at the show.

I thought the skill of the puppeteers was absolutely stunning.  I could tell that Harold Gossington who played the loveable Zazu, had practiced very hard with being able to move the puppet and act like a bird. Furthermore, what connected the Lion King to change it to make it more modern to suit with the current event was when Zazu sung the song ‘Let it go’, which is a very popular song known by all from the award-winning animated children’s film ‘ Frozen’. This connected the audience with the character.

I felt that the strongest character was Mustafa who was the Lion King. This is because he adapted the way a lion moves by using his whole body and the way he would open out his chest to show that he dominates over all the other animals.
In the end, we got the chance to meet the characters Zazu and Nala. Harold Gossington mentioned a struggle he had which he then managed to do perfectly after a lot of practice which was being able to open the puppets mouth whenever he had to say his lines. All the props were amazing to see and I could tell that there had been lots of work put into them to make them seem as realistic as possible for the audience. I loved how passionate the two characters were of their animal and being able to perform 8 times a week shows that they are dedicated to what they do and are willing to carry on.

Overall, this was my first time seeing Lion King in theatre as well as on television as an animated movie. Personally, I thought it was an amazing experience and I loved every song, every joke and every character in the play and I’d love to be able to see it again but more closer to the stage. I recommend anyone of any age to go and watch the Lion King in theatres as it will bring back your childhood memories of watching it at home on television but this time watching it live in front of you.

Friday, 27 November 2015

Stanislavski's Techniques

A few examples of Stanisklavski's techniques:

·         · The given circumstances are the information about the character that you start off with and the play as a whole. The actor should ask themselves questions like: How old is the character? What’s their situation in the play and in relation to the other characters? Are there any notes provided about the play and its characters?
·        · Emotional memory is when the actor finds a real past experience where they felt a similar emotion to that demanded by the role they are playing. They then ‘borrow’ those feelings to bring the role to life.
·        · The script of a play is called the text. The subtext is the actual meaning and motivation behind the lines that are spoken and the actions taken. For example, saying “I love you” is just a text however, it can have many different meanings.
·        · The magic if is a technique where the actor puts themselves into the character’s situation. The actor should ask themselves a question such as 'What would I do if I was in this situation?' and the character would answer it.


·      ·    An objective is the reason for our actions. The character should ask themselves ‘What are we trying to achieve?’ in the play; there can be more than one objective for a character.

Konstantin Stanislavski

Stanislavski’s real name was Konstantin Sergeyevich Alexeyev but he adopted the stage name of Stanislavski from an actor whom he met in amateur theatricals in 1884. Born on January 17, 1836, in Moscow and died on August 17, 1938, at the age of 75. Stanislavski grew up in one of the richest families in Russia; he was the son of a rich industrialist. His family loved the theatre and he was able to indulge in amateur theatricals. Stanislavski started working in theatre as a teen, going on to become a thespian and director of stage productions. His classical education included singing, ballet, and acting lessons as well as regular visits to the opera and theatre. Beginning in 1888 he directed and acted in performances for the Society of Art and Literature, which he had founded, and he continued these productions until 1897 under the sponsorship of the Hunting Club. As a serious theatrical practitioner, he made careful notes and evaluated his work; he was to write major texts on the art of performance. Some of his major texts were: My Life in Art, An Actor Prepares, Building a Character, Creating a Role.

Stanislavski met Vladimir Nemirovich-Danchenko, a successful playwright and teacher in the Moscow Philharmonic Society School.  They both founded, The Moscow Art Theatre in 1898 and developed a performance process known as method acting, allowing actors to use their personal histories to express emotion and create characters.The theatre was both successful and hugely influential in the world of theatre. The opening production of Alexey Tolstoy’s Tsar Fyodor Ivanovich was a popular success because of its realism. Realism was a 19th-century theatrical movement, seeking to portray real life on the stage. Stanislavski was a committed follower of realism throughout his working life. However, naturalism is often used to refer to the same things but it can also mean the belief that a human character is formed by what they’ve inherited from their family and environment. Stanislavski was committed to realism throughout his career and came to stand out against the scientific idea of naturalism. Experimentation on realism and naturalism was his key approach to theatre.

A few ways to present realism by Stanislavski is:

·         · The fourth wall is set of a realistic production will be solid and three dimensional. The performers present the action realistically, without using techniques such as addressing the audience, which presents an illusion of real life being played out.
·      ·    Everyday conversations and style of speaking in a realistic play would use non-rhythmic literature and ordinary language, rather than a wide range of vocabulary.
·      ·    The use of ordinary people presents realism as the stories are generally about people who are more defined as middle or working class.
·      ·    A carefully rehearsed acting style that creates or confirms the impression of reality.
·         · A carefully distilled representation of real life that is still theatrically effective.
·      ·    These plays are set in realistic contexts. They won’t have fairy tale or fantasy settings and are likely to be contemporary.

Evaluation of Greek Theatre


After a few weeks of rehearsing for our Greek Theatre pieces, our performance day came and we were all excited to show off our work and our acting skills to a new audience and new teachers.

The strengths in my performance with my group was that we helped each other by directing one another to improve our performance. For example, in the beginning Zulaiha was just standing on stage throughout the play and would only step forward when she had to deliver her lines and we changed that by make her move around the stage more in order to interact with other actors in the group. In addition, a few days before our performance day Zulaiha was absent and couldn’t attend the rehearsals so as a group of 3 we managed to work hard on developing our own characters and going over our lines with each other just to be confident with ourselves and ready for our performance day. Some of the things we did to develop remembering our lines and some of the words in our script was to work on our articulation and pronunciation of some of the words for example, a few of us found it hard to remember the pronunciation of the word ‘Thebes’. This is because we don’t use those types of words in the modern day. Moreover, the weaknesses in our performance were using more facial expressions. For example, in my monologue I revealed a lot of information and in rehearsals when we worked on my monologue with the help of Rob, we cut it down and evaluated each part and noticed that my character Jokasta was revealing bits of information about who Oedipus was to Jokasta and what happened to his father, Laios. As a group we directed Jireh to using a wider range of expressions such as being confused and shocked and I would use the expression of being confused and inside feeling quite sorry for Oedipus.

Our whole drama class had done a great job working very hard during rehearsals and with remembering lines. We all enjoy what we do as aspire to be brilliant actors and very dedicated which is a very important thing in the acting industry as it helps us get work done to the best of our ability and help others succeed too. After every rehearsal we would give each group feedback on how to improve their play and some of the strengths and weaknesses in their plays which is very helpful. One of the groups didn’t really feel that they could connect with their Greek play so a really fun and interesting thing that one of the groups did (Joseph, Peter and Marion) was change their Greek play and try to make it into their own which made their performance unique to the other groups. In addition, for Joseph’s monologue he decided to use some of his own personal skill of rapping into his monologue which was a great idea as it is something that the audience of young teenagers can relate to also they could finish the induction with a fantastic finish.

The Musical Theatre class put on a great performance, you can tell this by the amount of work they put into their performance to make it in time with the music, dancing and the singing. However, at times it was obvious that they not all put in the effort as the whole group was no in sync with each other which are a weakness as it let down the group making it look quite messy. Overall, it was an enjoyable performance to watch. The level 2 drama performances were all intriguing to watch because as an actor you are able to examine the way some things were performed and you could steal some ideas for any future performances. All of the groups made it clear what the theme of their play was about. They all had great projection however some at times were quite hard to hear especially because I was sitting at the back of the theatre so I was struggling to understand what the actor on stage was saying. The whole of the stage was used well by all of the groups, not one group performed in a corner, they were all centre where the audience can see clearly. 
One of the groups had decided to show it’s a new scene by using black outs, this is a very good idea however a weakness was that the audience was confused as to what is going on and the scenes seemed too short so there would be a blackout every 1-2minutes and it lost the audience’s attention. Another weakness in another play was that some of the actors came out of character which is a very powerful thing and can be spotted immediately for example, the actor was talking about weed and got a reaction from the audience so they came out of character which affected the whole group as it lost its meaning of what it was trying to teach us. Personally, I thought that the music performances were fantastic with recreating popular song and adding originality such as their own raps which sounded amazing. However, a weakness that could be easily spotted was that not all of the groups used their popular song and play around with piece to show that they can be creative.

 Overall, all the performances, Musical Theatre class, Level 2 Acting class and the Music class, on induction were brilliant and you can tell they worked hard and worked to their ability to performance an outstanding first piece. Audience’s reaction differ on type of performance for example, at a music gig, the audience are lively and can get involved more depending on if they are familiar with the type of music being played which they can relate to, whereas for a drama performance, the audience should be quiet because noise can distract an actor on stage who is concentrating and being in their character and if someone’s phone goes off this will cause the actors on stage to lose confidence and come out of character. The engagement of the audience depends on if the audience can relate or not, if a modern piece in drama was performed then many will be able to relate in contrast to Greek Theatre which has challenging and unfamiliar words to our modern world.

Tuesday, 3 November 2015

Mark Gatiss

On Friday 16th October, we got the experience to get tickets to a masterclass at a theatre with Mark Gatiss. He is an accomplished author, actor, comedian, screenwriter and novelist. He is in the award-winning comedy team The League of Gentlemen, and is involved in the television series of  "Doctor Who" scene, having written a variety of novels and audio plays (most of which he appeared in). He has co-written two plays for the Edinburgh Festival and appeared in a number of theatre and radio shows. In addition, he co-created and co-produced Sherlock. From the questions being asked and the answers Mark Gatiss gave I thought were important for me and to anyone whose aspiration is to become an actor.


One of the questions asked was ‘What is your favourite thing about being and actor and your least favourite thing?’  Mark Gatiss’ most favourite thing was meeting new people and working together also to him it is very important to share a laugh. On the other hand, his least favourite thing was that the experience doesn’t get less terrifying in terms of, the experience rarely having any challenges to face when it comes to playing a new role. An interesting fact about Mark Gatiss is that he has been a Doctor Who fan since he was a child, and is now one of only three people to both act and write for the show. In addition to other television shows he had helped direct, he helped write two episodes of Game of Thrones and was once asked “Who should be on the iron throne?” – Mark Gatiss answered by saying himself.  Mark Gatiss mentioned that he loves to collaborate with other and believes that it is a very good and important thing in the industry. Moreover, when writing, Mark Gatiss has empathy of past icons in order to make his piece of writing more realistic. One thing that Mark Gatiss said that stood out was that to be able to write about a specific generation, you have to be living it to be able to write about it.