New theatre -
Our performance in the new theatre overall went really well and we were able to do one of our bet performances i think. Personally i was really happy with my performance and i remembered all my lines, entrances and exits, Furthermore i felt comfortable in my scenes when it came to the performance and i felt like i knew what i was doing within them. To have made my performance better i would have liked us to have been able to run the show like we did on the night once before as up until the last minute we were still making mistakes and having to go over things meaning that we didn't go into the performance completely confident. However, despite this i think once we had all done our first scenes and they had run smoothly we relaxed further into the performance and people were bolder and more confident in their choices.
Working in the theatre also gave us all more of an experience of performing properly to an audience and during the show i think this helped lift peoples performances, i also think we worked well to perform to all 3 sides and adjust our bodies to do so. If we were to have had more time working on this i think i would have thought even more about performing to all 3 sides before the performance, especially during my monologue as i found it wasn't until the audience were actually there that you realised how much you had to work the space and so i probably didn't as much as i could have.
In conclusion although i think the performance went extremely well i think leading up to the performance did not and therefore may have hindered us slightly, having a weak dress rehearsal emphasised the amount of work that needed to be done prior to it that we as a cast had not done, therefore the lead up provided us all with a realisation that we can't leave it to the last minute. Luckily i think we all realised it and did a really good performance because of it.
Brighton -
The performance we did at Brighton felt like exceptional hard work as a performer, as we were unable to have any run through in the space it meant that the different exits and entrances had to be figured out in our minds before we put them into action during the show. We also had to deal with distractions and people walking through the performance which sometimes made it hard for you to remain in the scene. For me i think my biggest challenge was my projection, being outdoors meant our voices hardly carried and it sometimes felt like i was shouting on stage to be heard, which has made me realise the importance for me to strengthen my voice as a performer. It was also at points hard to hear other people which made cue lines hard to hear.
Overall I think we still managed to do a good run and we were able to hold an audience, although before stratford i think the outdoor performing is something we all need to think about and work on in order to strengthen our performance there.
Sunday, 31 May 2015
Historical context week 6
Henry V
Henry V is the last in a collection of four plays written by shakespeare ( Richard ||, Henry |V Part 1 and Henry |V Part 2), it is believed to have been written in 1599 over 100 years after the events if focus' on within the play, such as the battle of Agincourt. The play explores the political tension that is left after King Henry |V's death and the relationship between England and France in the early 15th century.
The play looks at the experience of war for soldiers and the horrors that come with it as well as the heroic nature and perception of war. It provides a powerful insight into what war may be like and aims to give the audience an understanding of this, Shakespeare's want to do this can be seen in the opening prologue of the play. This underlying aim allows the play to remain contemporary and to be able to be adapted for a changing audience, as was seen in the National Theatres production of Henry V in 2003. Nicholas Hytner adapted the play by setting it during the Iraq war, which in 2003 was extremely relevant. By doing this he allowed audiences to have a more contemporary relation to the play, as well as this he highlighted how things may not have changed and how hundreds of years later the same events are still occurring.
Similarly to our piece this contemporary adaptation aids in heightening the relevance and importance of the original words shakespeare wrote, whilst the setting may change the message still remains the same and the audience ultimately still see the same play.
My character of the Boy appears in both Henry iv part 2 and Henry V, he plays a very traditional role of a page - boy, serving as Falstaff's page in Henry iv part 1. In the National theatres 2003 production the scenes he was in were set in a London pup, a modern equivalent to the tavern they are set in in the original text. Costume is a key feature in showing their characters and they were all dressed in modern day casual clothes, representing normal english people and showing a world away from the war. Unlike in the original text the death of the boy is shown on stage in this production, this may have been done in order to create more of a shock and emotional connection from the audience or it may just have been due to the advance in theatrical ability from when the play was originally written. Whilst it may not have been able to look believable in the 15th C in a modern day production this is something they were able to achieve.
The Production in 2003 some have said to be to 'gimmicky' suggesting that the modern adaptation may have actually taken away from the purity of the script and clouded over it with technological and modern day advantages. Personally I find if the contemporary concept running through a play is strong and well thought through often it does aid in my connection and enjoyment of a performance. However, if the concept is at all flakey in places it immediately removes a connection and instead can leave you confused as to what is happening within the play.
Henry V is the last in a collection of four plays written by shakespeare ( Richard ||, Henry |V Part 1 and Henry |V Part 2), it is believed to have been written in 1599 over 100 years after the events if focus' on within the play, such as the battle of Agincourt. The play explores the political tension that is left after King Henry |V's death and the relationship between England and France in the early 15th century.
The play looks at the experience of war for soldiers and the horrors that come with it as well as the heroic nature and perception of war. It provides a powerful insight into what war may be like and aims to give the audience an understanding of this, Shakespeare's want to do this can be seen in the opening prologue of the play. This underlying aim allows the play to remain contemporary and to be able to be adapted for a changing audience, as was seen in the National Theatres production of Henry V in 2003. Nicholas Hytner adapted the play by setting it during the Iraq war, which in 2003 was extremely relevant. By doing this he allowed audiences to have a more contemporary relation to the play, as well as this he highlighted how things may not have changed and how hundreds of years later the same events are still occurring.
Similarly to our piece this contemporary adaptation aids in heightening the relevance and importance of the original words shakespeare wrote, whilst the setting may change the message still remains the same and the audience ultimately still see the same play.
My character of the Boy appears in both Henry iv part 2 and Henry V, he plays a very traditional role of a page - boy, serving as Falstaff's page in Henry iv part 1. In the National theatres 2003 production the scenes he was in were set in a London pup, a modern equivalent to the tavern they are set in in the original text. Costume is a key feature in showing their characters and they were all dressed in modern day casual clothes, representing normal english people and showing a world away from the war. Unlike in the original text the death of the boy is shown on stage in this production, this may have been done in order to create more of a shock and emotional connection from the audience or it may just have been due to the advance in theatrical ability from when the play was originally written. Whilst it may not have been able to look believable in the 15th C in a modern day production this is something they were able to achieve.
The Production in 2003 some have said to be to 'gimmicky' suggesting that the modern adaptation may have actually taken away from the purity of the script and clouded over it with technological and modern day advantages. Personally I find if the contemporary concept running through a play is strong and well thought through often it does aid in my connection and enjoyment of a performance. However, if the concept is at all flakey in places it immediately removes a connection and instead can leave you confused as to what is happening within the play.
Sunday, 3 May 2015
Historical context week 5.
How have Shakespeare's plays changed?
Shakespeare today is performed in a wide array of forms, it is no longer just in the theatre but now it can be seen in films and television as well. When it is in the theatre the conditions are much more hygienic for both the audience and the performers as well as civilised, where fights may have broke out in shakespeare time it is now a much more calm affair. The globe itself has been rebuilt and the floor has been replaced by a concrete base adding to the growth in hygiene. The actors are now both men and women and sometimes children meaning parts appear much more truthful and real.
The plays themselves have been adapted and changed, made into modern day equivalents with different language or kept the same but with a different concept running through them. For example, Frantic assembly's version of Othello is set in a modern day pub, whilst it still uses Shakespeare's original text it has been adapted visually to make it more appealing and relatable to the modern audience. This piece also uses physical theatre to help tell the story and has added modern day music to further this concept even more.
The length of shakespeare plays has also changed, often they are abridged in order to condense down the story and make sense of it quicker, many are still performed in their original length but some are now just an hour or hour and a half. Making sense of the old language has been a large factor in why shakespeare's plays have changes/ been adapted. Often adding in a concept allows audiences to understand the circumstances better and connect with what is being said. Film adaptations that take just the story line and not the language are another example of this, they allow modern-day visuals and language to tell the original story. Translations for shakespeare plays are also now available meaning an audience can make sense of the words shakespeare wrote.
Where the plays are performed is now much more varied than it was in shakespeare's time, it is now possible to really perform these plays anywhere and they are not confined to traditional theatres or playhouses anymore.
Frantic assembly's othello - https://www.youtube.com/watch?v=lrZAYq4gVPQ
Shakespeares globe today - http://www.shakespearesglobe.com/about-us/virtual-tour/stage
Shakespeare today is performed in a wide array of forms, it is no longer just in the theatre but now it can be seen in films and television as well. When it is in the theatre the conditions are much more hygienic for both the audience and the performers as well as civilised, where fights may have broke out in shakespeare time it is now a much more calm affair. The globe itself has been rebuilt and the floor has been replaced by a concrete base adding to the growth in hygiene. The actors are now both men and women and sometimes children meaning parts appear much more truthful and real.
The plays themselves have been adapted and changed, made into modern day equivalents with different language or kept the same but with a different concept running through them. For example, Frantic assembly's version of Othello is set in a modern day pub, whilst it still uses Shakespeare's original text it has been adapted visually to make it more appealing and relatable to the modern audience. This piece also uses physical theatre to help tell the story and has added modern day music to further this concept even more.
The length of shakespeare plays has also changed, often they are abridged in order to condense down the story and make sense of it quicker, many are still performed in their original length but some are now just an hour or hour and a half. Making sense of the old language has been a large factor in why shakespeare's plays have changes/ been adapted. Often adding in a concept allows audiences to understand the circumstances better and connect with what is being said. Film adaptations that take just the story line and not the language are another example of this, they allow modern-day visuals and language to tell the original story. Translations for shakespeare plays are also now available meaning an audience can make sense of the words shakespeare wrote.
Where the plays are performed is now much more varied than it was in shakespeare's time, it is now possible to really perform these plays anywhere and they are not confined to traditional theatres or playhouses anymore.
Frantic assembly's othello - https://www.youtube.com/watch?v=lrZAYq4gVPQ
Shakespeares globe today - http://www.shakespearesglobe.com/about-us/virtual-tour/stage
run through notes.
Shakespeare run through notes 28th April
Talking too slowly, not secure enough on lines, nervousness about 'speaking shakespeare'
Wait longer before touching Sophie's shoulder, allow audience to hear her humming.
Take time to get to still image, gradual transition/ understanding.
Think about use of space, using the whole stage, not forming lines.
Listen to what is going on in scene, understand what you're reacting to.
Speech, go over what we worked on, use bags.
What are you doing in every scene, who are you, what's going on, how are you feeling.
Don't come out of character when something goes wrong.
Shakespeare run through 2 Notes 28th April
Take time getting off stage at the end of the opening.
Don't just move when you are taking, move when other things are happening too.
Remember acting to 3 sides.
Tech rehearsal notes 30th April
Spread out in opening, don't form clumps when willa starts.
Have bags for 2nd scene.
Don't be late in prologue before ship.
These are the notes we received from our run throughs this week, the initial notes from our first run are the ones i think i was able to rectify the easiest and the notes from the other runs are something i need to think more about, for example remembering to act to 3 sides and to not just move when we are talking. From doing our tech rehearsal i realised how important it is to know what exit/entrance i need to be at and when. Especially as you can't hear whats happening inside the theatre it is good to have a judgement on how long it is before your entrance so you can position yourself correctly. Furthermore its also important to know where your props are and where they need to be for your next scene so that they are ready for you there. I definitely need to look at my cues for coming on and off stage as well as when i'm on stage. I also want to look at my monologue as i still feel i need to work more on my delivery of it and working it to 3 sides.
Saturday, 25 April 2015
Week 6
This Week we worked on creating the Battle section of our Piece. To represent the battle we are using the idea of the soldiers going 'over the top' and exiting the trenches to enter battle. We have also separated the French and English to show the clear divide between the two sides. I think in this section it is vital we all implement what we have learnt about how men walk and the physicality of soldiers we have developed. As i think this will help massively in creating the atmosphere and realness of what we are trying to portray.
This image shows the moment of the men going 'over the top' that we are representing in this section.
The ending of this section, where we become hurt or wounded is definitely the part we need to work on further. For me I'm unsure of how to represent what has happened and its something i need to develop physically in rehearsals.
We used the rest of the rehearsal to block the remaining half of the show and clean what we had already worked on, as my character isn't in this half i observed 3 people acting instead.
We used the rest of the rehearsal to block the remaining half of the show and clean what we had already worked on, as my character isn't in this half i observed 3 people acting instead.
Doing this was helpful in learning from what others are doing and seeing how i can implement into my work what they are doing well in theirs. For example Naomi was always engaging in a scene as she remained in Character and reacted to what was happening around her. Showing she have a strong sense of what she and others were saying.
Saturday, 18 April 2015
Wednesday 15th April
Monologue
As young as I am, I have observed these three swashers. I am boy to all three; but all three, though they would serve me, could not be man to me; for indeed three such antics do not amount to a man. For Bardolph, he is white-livered and red-faced; by the means whereof 'a faces it out, but fights not. For Pistol, he hath a killing tongue and a quiet sword; by the means whereof 'a breaks word and keeps whole weapons. For Nym, he hath heard that men of few words are the best men, and therefore he scorns to say his prayers, lest 'a should be thought a coward; but his few bad words are matched with as few good deeds, for 'a never broke any man's head but his own, and that was against a post when he was drunk. They will steal anything, and call it purchase. Bardolph stole a lute-case, bore it twelve leagues, and sold it for three halfpence. Nym and Bardolph are sworn brothers in filching, and in Calais they stole a fire-shovel. I knew by that piece of service the men would carry coals. They would have me as familiar with men's pockets as their gloves or handkerchers; which makes much against my manhood, if I should take from another's pocket to put into mine; for it is plain pocketing up of wrongs. I must leave them and seek some better service. Their villainy goes against my weak stomach, and therefore I must cast it up.
Thoughts :
1. As young as I am, I have observed these three swashers. - assurance to himself that his opinion is still valid
2. I am boy to all three; but all three, though they would serve me, could not be man to me; for indeed three such antics do not amount to a man. - First realisation, brave statement made by him.
3. For Bardolph, he is white-livered and red-faced; by the means whereof 'a faces it out, but fights not. - Backing up what he is saying, giving evidence to his thoughts. Dislikes Bardolph a lot.
4. For Pistol, he hath a killing tongue and a quiet sword; by the means whereof 'a breaks word and keeps whole weapons. - Giving more evidence, doesn't give as much of an opinion on Pistol as he does the other men.
5. For Nym, he hath heard that men of few words are the best men, and therefore he scorns to say his prayers, lest 'a should be thought a coward; - Bad attributes of Nym, sees him as a coward.
6. but his few bad words are matched with as few good deeds, for 'a never broke any man's head but his own, and that was against a post when he was drunk. - some positives about Nym
7. They will steal anything, and call it purchase. Bardolph stole a lute-case, bore it twelve leagues, and sold it for three halfpence. Nym and Bardolph are sworn brothers in filching, and in Calais they stole a fire-shovel. - Further into why he doesn't like them
8. I knew by that piece of service the men would carry coals. They would have me as familiar with men's pockets as their gloves or handkerchers; which makes much against my manhood, if I should take from another's pocket to put into mine; for it is plain pocketing up of wrongs. - Realisation/ conformation of why they want him with them, and why he doesn't want to be there.
--------------------------------- Decision Made to Leave them ------------------------------------------
9. I must leave them and seek some better service. Their villainy goes against my weak stomach, and therefore I must cast it up.
Tuesday 14th April
Preset Section :
Although i am not in this section watching it was really useful to see how our show would look to the audience when they first walk in. This week this section became much more stylised and slick, I think this works really well as it gives this section another depth that the audience can see instead of just watching us mime the work of the munitions workers. Also adding in the Props and Pieces of set this time was also helpful in giving a clearer image of how the opening will look. The group who work round the 3 main tables have created a piece around the shells they are making and checking to see if they are complete. I think their piece in particular works well as all their movements are defined and quick which creates a really interesting and imaginative portrayal of this simple task. I think having this opening section is really effective in creating the environment of the factory for the audience and allowing them to see what these women every day lives our like.
Telegram :
The telegram section is when my character walks in to deliver the news that her husband has died to Sophie's character. This section was hard in finding how we should all react to this news, as although it is extremely tragic it did become the norm for these women and many would block it out of their minds. For My character i saw her as quite young and possibly a bit helpless in this situation, just staring at Sophie's Character rather than attempting to comfort or speak to her. This section comes midway through the song 'keep the home fires burning' which is being sung by the women when my character enters. Having the women react and stop singing when i walk past them i feel works really well in building up the suspense and also in that it leaves Sophie humming alone, putting the audience and the women in the factory in edge. The sound of just her humming instantly changes the atmosphere of the section and moves us on into the next phase of exploring what these women go through.
Prologue :
The prologue is something we had worked on before and pretty much were comfortable with in our blocking. The initial lines 'Oh for a muse of fire' Transition the women out of chatting and into a state of confusion as to what these 3 women are doing. It also, once again, completely shifts the energy and atmosphere of the section Into a much more upbeat one. This week we added an image of the women in battle playing men that comes at the end of the prologue. I think we initially struggled with this and making this transition smooth because we were unable to see one another or the image as a whole, so it took us a while to get the transition clean. The image is powerful in representing what the chorus have just described which will also be useful for the audience in their understanding of the text.
Although i am not in this section watching it was really useful to see how our show would look to the audience when they first walk in. This week this section became much more stylised and slick, I think this works really well as it gives this section another depth that the audience can see instead of just watching us mime the work of the munitions workers. Also adding in the Props and Pieces of set this time was also helpful in giving a clearer image of how the opening will look. The group who work round the 3 main tables have created a piece around the shells they are making and checking to see if they are complete. I think their piece in particular works well as all their movements are defined and quick which creates a really interesting and imaginative portrayal of this simple task. I think having this opening section is really effective in creating the environment of the factory for the audience and allowing them to see what these women every day lives our like.
Telegram :
The telegram section is when my character walks in to deliver the news that her husband has died to Sophie's character. This section was hard in finding how we should all react to this news, as although it is extremely tragic it did become the norm for these women and many would block it out of their minds. For My character i saw her as quite young and possibly a bit helpless in this situation, just staring at Sophie's Character rather than attempting to comfort or speak to her. This section comes midway through the song 'keep the home fires burning' which is being sung by the women when my character enters. Having the women react and stop singing when i walk past them i feel works really well in building up the suspense and also in that it leaves Sophie humming alone, putting the audience and the women in the factory in edge. The sound of just her humming instantly changes the atmosphere of the section and moves us on into the next phase of exploring what these women go through.
Prologue :
The prologue is something we had worked on before and pretty much were comfortable with in our blocking. The initial lines 'Oh for a muse of fire' Transition the women out of chatting and into a state of confusion as to what these 3 women are doing. It also, once again, completely shifts the energy and atmosphere of the section Into a much more upbeat one. This week we added an image of the women in battle playing men that comes at the end of the prologue. I think we initially struggled with this and making this transition smooth because we were unable to see one another or the image as a whole, so it took us a while to get the transition clean. The image is powerful in representing what the chorus have just described which will also be useful for the audience in their understanding of the text.
Saturday, 11 April 2015
Historical context week 4
WEEK 4 - THEATRES, ACTORS AND ACTING IN SHAKESPEARE’S TIME
Playhouses :
London in Elizabethan times had two different types of playhouses, Indoor and Outdoor. Indoor were often referred to as 'Halls' or 'Private' Playhouses, whilst outdoor, like the Globe, were named 'Amphitheatres' or 'public' Playhouses. Playhouses began to open in the late 1560's with the first playhouse, The Red Lion, being opened in 1567. At the time playhouses were seen by city officials to be disruptive and to attract thieves, therefore many theatres were built along the Southside of the river thames, just outside of the city wall in order to avoid city officials. Playhouses were often built by business men after they saw the growing popularity by them. They would buy the land and build the playhouse before leasing it out to companies for a set amount of time. The inside of the open air playhouses would include a ground section completely open to the sky, a covered stage, and gallery seating areas around the perimeter where people could be sheltered.
Actors :
Actors in Shakespeare's time were Boys and Men, women were not allowed to perform in public theatres until 1660 although they were working elsewhere in Europe before this. Getting into the profession usually started at a young age. Boys could join a company as an apprentice and be taught by more experienced members before going on to act themselves. The actors were required to sing, fight and be able to remember lines within the company. The size of these companies ranged dependent on wealth and location. A top company may have had up to 16 members as well as 'hired men' and additional stage team. Most of these companies were situated permanently in London, only going on tour when theatres shut for numerous reasons. How much the actors earn was once again dependent on wealth and money. most companies operated a system of 'sharers' where members of the company would own a part of it and benefit in money that way. location also determined an actors rate, where you may get 10 shillings in London you may only get 5 in other parts of the country. Actors would usually rehearse in the morning and then perform in the afternoon, due to the need of natural light. Instead of their own script they would only receive their lines and cues to work from, often actors would play several parts at a time so it was a very busy job.
Playhouses :
London in Elizabethan times had two different types of playhouses, Indoor and Outdoor. Indoor were often referred to as 'Halls' or 'Private' Playhouses, whilst outdoor, like the Globe, were named 'Amphitheatres' or 'public' Playhouses. Playhouses began to open in the late 1560's with the first playhouse, The Red Lion, being opened in 1567. At the time playhouses were seen by city officials to be disruptive and to attract thieves, therefore many theatres were built along the Southside of the river thames, just outside of the city wall in order to avoid city officials. Playhouses were often built by business men after they saw the growing popularity by them. They would buy the land and build the playhouse before leasing it out to companies for a set amount of time. The inside of the open air playhouses would include a ground section completely open to the sky, a covered stage, and gallery seating areas around the perimeter where people could be sheltered.
Actors :
Actors in Shakespeare's time were Boys and Men, women were not allowed to perform in public theatres until 1660 although they were working elsewhere in Europe before this. Getting into the profession usually started at a young age. Boys could join a company as an apprentice and be taught by more experienced members before going on to act themselves. The actors were required to sing, fight and be able to remember lines within the company. The size of these companies ranged dependent on wealth and location. A top company may have had up to 16 members as well as 'hired men' and additional stage team. Most of these companies were situated permanently in London, only going on tour when theatres shut for numerous reasons. How much the actors earn was once again dependent on wealth and money. most companies operated a system of 'sharers' where members of the company would own a part of it and benefit in money that way. location also determined an actors rate, where you may get 10 shillings in London you may only get 5 in other parts of the country. Actors would usually rehearse in the morning and then perform in the afternoon, due to the need of natural light. Instead of their own script they would only receive their lines and cues to work from, often actors would play several parts at a time so it was a very busy job.
Women in the Factory (wed 8th April)
Today we worked further on cleaning and improving the prologue section of the play. This includes the opening section when we are women in the factory. Working on this made me think further about who this women is, what she's like and how she acts. To help me with this i have made a character profile :
Character Profile, Women in Factory.
Age : 21
Status : Recently married to a man just before he left for war, he is still alive. No children.
Attitude to work: Very cheerful, gets distracted easily at work and can be clumsy.
Personality: Friendly, gets on with everyone, ditzy, can be quite nosey.
Her feelings when she gives the telegram: Anxious to see what it says, relieved that its not for her, sympathetic for the other girl.
Having this profile allows me to develop the character further and think about how she will be in the scene, it also allows me to have a basis to work from in creating her physicality and gestures. As well as this i also looked at what their surroundings may be like in order to aid me in this section in visualising where we are and what everyday life is like for these women.
http://media.nationalarchives.gov.uk/index.php/women-making-munitions/
Theses images & video show the sort of tasks women were undertaking in the factory which is useful for the opening section where we are replicating these within our own factory. Seeing the pace they worked at and tools they used in the video means i can now make my movements more accurate to what they would have actually been like within the factory.
Character Profile, Women in Factory.
Age : 21
Status : Recently married to a man just before he left for war, he is still alive. No children.
Attitude to work: Very cheerful, gets distracted easily at work and can be clumsy.
Personality: Friendly, gets on with everyone, ditzy, can be quite nosey.
Her feelings when she gives the telegram: Anxious to see what it says, relieved that its not for her, sympathetic for the other girl.
Having this profile allows me to develop the character further and think about how she will be in the scene, it also allows me to have a basis to work from in creating her physicality and gestures. As well as this i also looked at what their surroundings may be like in order to aid me in this section in visualising where we are and what everyday life is like for these women.
Theses images & video show the sort of tasks women were undertaking in the factory which is useful for the opening section where we are replicating these within our own factory. Seeing the pace they worked at and tools they used in the video means i can now make my movements more accurate to what they would have actually been like within the factory.
Monday, 6 April 2015
Historical context, week 3.
What was London like in Elizabethan times and who were the people attending the theatre?
In elizabethan England London was much smaller than we consider it today. London was essentially what we would now consider just the 'city'. It was Busy, Crammed and Unsanitary. The lack of a sewage system meant chamber pots were being emptied out of windows onto the streets, making illness easy to spread. The population of London grew 400% between 1500 and 1600, it was over populated and houses held more than they were meant to withstand. London was however also the centre of the 'golden age' with it being the richest and biggest city in England at the time. The Golden Age was a time of creativity and originality meaning more people were involved in and interested by the arts. In London 20,000 people went to the theatre every week. The theatre was also made accessible to more people, and people of different social classes. At the globe you could see a play for 1 penny and stand In the 'groundlings' this 'yard' area was very much for the lower classes in society and it wasn't particular well kept of hygienic. Crime also occurred in this area and people could often be robed when watching the play.
Other audience members could pay higher rates to have a seat in the theatre, this meant they were under shelter and away from the crime filled and unhygienic yard. Higher members in society would see the theatre as an opportunity to wear their finest clothes and to be seen. These people would usually sit in the galleries or if they had real money the 'lords rooms'. Audiences could also be very vocal about their feelings on a play, if they didn't like it they were known to have thrown things at the actors, to have damaged the theatre or to have used verbal abuse.
During the Elizabethan times the audience numbers in theatres grew meaning plays had shorter runs and were replaced more often by new plays.
Saturday, 4 April 2015
Tuesday 31st March lesson
Run Through of Blocked scenes.
We started by running what we blocked in the lessons last week, this helped to clarify any blocking we were still unsure of and anything that didn't work and needed to be changed. It was also useful for me in setting the blocking in my mind further so i won't forget it. One thing i noticed i struggled with was remembering my entrances and exits on stage. To help me with this i drew a diagram of the stage and marked on it where i come on and exit from on stage.
We also worked with a movement director, Rachel, to help us with becoming the soldiers and walking as a man. The exercise with our coats was interesting in analysing a very everyday task that you usually don't think twice about. Having to change the way we did this meant that it felt more alien and at times unnatural/ uncomfortable. It was useful as it brought me to be thinking more about the way i move and how it is possible to change this action very simply and be able to create a completely different meaning from it. For example when we performed the action of putting our coat on as if it was freezing cold outside, just by speeding it up and having more of an urgency to what we were doing we were able to convey this.
Working on the physicality of a man and looking at how their bodies differ from ours gave me more of a sense as to how mens bodies may naturally cause them to walk, rather than looking at habits they may have picked up in their movements. Generally in the class we all began to walk in a way that made us take up more space, pulling back our shoulders and spreading our legs further when we walk. this also applied for when we sat down, extending our limbs more and spreading out in the space. Working on this walk will help massively for when we are soldiers in the play, it has also given me a basis to work on for my character. As my character is only 12 some of these movements will apply but others i will have to adapt so they aprear more child like.
With rachel we also worked on a Section for the opening in the factory. Looking at how we could stylise our movements to create something that refletcted the work at that time whilst also being entertaining for the audience to watch. In groups we created 5 movements to do this. For the group i was in i think what we came up with is really good pace wise and visualy however, it is something we now need to clean up and make look almost machine like to give the full effect.
We started by running what we blocked in the lessons last week, this helped to clarify any blocking we were still unsure of and anything that didn't work and needed to be changed. It was also useful for me in setting the blocking in my mind further so i won't forget it. One thing i noticed i struggled with was remembering my entrances and exits on stage. To help me with this i drew a diagram of the stage and marked on it where i come on and exit from on stage.
We also worked with a movement director, Rachel, to help us with becoming the soldiers and walking as a man. The exercise with our coats was interesting in analysing a very everyday task that you usually don't think twice about. Having to change the way we did this meant that it felt more alien and at times unnatural/ uncomfortable. It was useful as it brought me to be thinking more about the way i move and how it is possible to change this action very simply and be able to create a completely different meaning from it. For example when we performed the action of putting our coat on as if it was freezing cold outside, just by speeding it up and having more of an urgency to what we were doing we were able to convey this.
Working on the physicality of a man and looking at how their bodies differ from ours gave me more of a sense as to how mens bodies may naturally cause them to walk, rather than looking at habits they may have picked up in their movements. Generally in the class we all began to walk in a way that made us take up more space, pulling back our shoulders and spreading our legs further when we walk. this also applied for when we sat down, extending our limbs more and spreading out in the space. Working on this walk will help massively for when we are soldiers in the play, it has also given me a basis to work on for my character. As my character is only 12 some of these movements will apply but others i will have to adapt so they aprear more child like.
With rachel we also worked on a Section for the opening in the factory. Looking at how we could stylise our movements to create something that refletcted the work at that time whilst also being entertaining for the audience to watch. In groups we created 5 movements to do this. For the group i was in i think what we came up with is really good pace wise and visualy however, it is something we now need to clean up and make look almost machine like to give the full effect.
Monday, 30 March 2015
Historical Context Week 2
William Shakespeare Biography :
William shakespeare was born to John and Mary shakespeare in 1564. He was the only of their 3 children that survived, his two sisters died before they could mature. Shakespeare's father, John, made gloves for a living. He married Shakespeare's mother, Mary, who was of a higher social standing meaning he raised in status and worked his way through the local offices, becoming Bailiff when shakespeare was 5. John and Mary had 5 more children after shakespeare, Gilbert, Richard, Edmond, Joan and Anne who died aged 7.
Shakespeare's family status meant he had the money to be put through grammar school. He would have attended 6 days a week with his lessons running from 8-5. His studying focused on learning latin and exploring it in great depth, he also would have been involved in the production of latin plays.
In 1584 Shakespeare married Anne Hathaway, when she was expecting their first child Susanna, he went on to have twins, Hamnet and Judith. Hamnet, his only son, died aged 11.
The years after his children birth are very obscure as to what went on in shakespeare's life and little is known as to how he got into theatre. Between the years of 1592-94 shakespeare plays were performed in theatres in london, theatres were then shut in 1593 due to the plague, putting a halt to Shakespeare's performances. His plays began to be performed once again in 1594 and shakespeare worked as an actor, director and playwright.
Shakespeare died on 23rd April 1616, the cause of his death was unknown.
William shakespeare was born to John and Mary shakespeare in 1564. He was the only of their 3 children that survived, his two sisters died before they could mature. Shakespeare's father, John, made gloves for a living. He married Shakespeare's mother, Mary, who was of a higher social standing meaning he raised in status and worked his way through the local offices, becoming Bailiff when shakespeare was 5. John and Mary had 5 more children after shakespeare, Gilbert, Richard, Edmond, Joan and Anne who died aged 7.
Shakespeare's family status meant he had the money to be put through grammar school. He would have attended 6 days a week with his lessons running from 8-5. His studying focused on learning latin and exploring it in great depth, he also would have been involved in the production of latin plays.
In 1584 Shakespeare married Anne Hathaway, when she was expecting their first child Susanna, he went on to have twins, Hamnet and Judith. Hamnet, his only son, died aged 11.
The years after his children birth are very obscure as to what went on in shakespeare's life and little is known as to how he got into theatre. Between the years of 1592-94 shakespeare plays were performed in theatres in london, theatres were then shut in 1593 due to the plague, putting a halt to Shakespeare's performances. His plays began to be performed once again in 1594 and shakespeare worked as an actor, director and playwright.
Shakespeare died on 23rd April 1616, the cause of his death was unknown.
Sunday, 29 March 2015
Tuesday 24th March Lesson
--- BLOCKING
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This week we looked at roughly blocking the 1st half of the play. As we were all in the room when each scene was being blocked it allowed us to see the play taking shape more, as well as see how others were starting to characterise and make choices on how they were going to be on stage. For me the blocking was useful in performing with the people for the scene for the first time, and understanding the dynamics within that group of people. For example that my character is probably of the lowest status within that group, knowing this will now effect my presence on stage, choosing to enter last or to stand the furthest away. Blocking our scenes also helped with understanding the lines further and understanding the tone and way in which they are said.
As a group the people in my scene also worked separately to understand our scenes further, we 'translated' the lines in our scene to see what each character is contributing and how the dynamics in the group change throughout the scene. We also thought about working with each other to characterise and experimented with different ways of playing our character so we could see what did and didn't work. This was really useful in getting more familiar with our scenes and gaining a greater understanding of it all.
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Tuesday, 24 March 2015
Historical context week 1
What sense do you get of what life was like in Elizabethan England?
For poor people in the cities life in Elizabethan England was one of uncertainty, often people wouldn't know where their next meal was coming from and they relied heavily on a good harvest, something that could never be certain. This then led to Malnutrition in many people, illness wasn't uncommon in the towns and cities for the poorer people. The sanitation in elizabethan times was dire, there were no sewage systems which meant disease and illness spread rapidly, it was one of the main reasons the plague spread so rapidly. As well as this water was also not easily accessible, unless you had money, and people took water from rivers, including the thames, which, due to the lack of sanitation was unclean and unsafe. Crime was also a large issue for poor people in cities/towns in elizabethan times as '1/2 elizabethan population was under the age of 22' this meant an immaturity and 'lack of life experience' led to high crime rates. Most men carried a dagger or a sword and harsh measures had to be imposed in law to protect the people in the towns and cities. Like the cities the countryside was also a somewhat unsafe for poor people in elizabethan times, it's lack of light and unclear pathways led to it being a vulnerable place to be.
For the poor people in the countryside it appears to have been a very simple and basic life they led. Living off minimal food and tools their lack of money appears to be clear. It also appears to have been very family orientated as large families would share one house spending almost all of their time with one another.
For the people of wealth in Elizabethan England it was very much a materialistic life in my impression, they spent a great deal of time and money on their appearance and possessions. What they would dress themselves in was considered highly important and set your status in society. As well as this having their portraits painted to show their wealth was also commonly done.
Elizabethan England was a time of great change for the people living in it. New inventions and mass production brought a change to infrastructure across the country. Houses could now be built on two levels, due to the chimney, and the mass production of the brick makes this even more possible. People flocked to the towns, demolishing old houses and building new ones, showing off their wealth through using glass in their materials. Literacy also improved during elizabethan England as books were published in english for the first time, it gave people the ability to move up in social class and was part of the ongoing social revolution. School also became more widely available for boys, teaching boys to read and write in Latin, improving literacy further and allowing new scientific discoveries to made as well as new exploration of the globe.
For poor people in the cities life in Elizabethan England was one of uncertainty, often people wouldn't know where their next meal was coming from and they relied heavily on a good harvest, something that could never be certain. This then led to Malnutrition in many people, illness wasn't uncommon in the towns and cities for the poorer people. The sanitation in elizabethan times was dire, there were no sewage systems which meant disease and illness spread rapidly, it was one of the main reasons the plague spread so rapidly. As well as this water was also not easily accessible, unless you had money, and people took water from rivers, including the thames, which, due to the lack of sanitation was unclean and unsafe. Crime was also a large issue for poor people in cities/towns in elizabethan times as '1/2 elizabethan population was under the age of 22' this meant an immaturity and 'lack of life experience' led to high crime rates. Most men carried a dagger or a sword and harsh measures had to be imposed in law to protect the people in the towns and cities. Like the cities the countryside was also a somewhat unsafe for poor people in elizabethan times, it's lack of light and unclear pathways led to it being a vulnerable place to be.
For the poor people in the countryside it appears to have been a very simple and basic life they led. Living off minimal food and tools their lack of money appears to be clear. It also appears to have been very family orientated as large families would share one house spending almost all of their time with one another.
For the people of wealth in Elizabethan England it was very much a materialistic life in my impression, they spent a great deal of time and money on their appearance and possessions. What they would dress themselves in was considered highly important and set your status in society. As well as this having their portraits painted to show their wealth was also commonly done.
Elizabethan England was a time of great change for the people living in it. New inventions and mass production brought a change to infrastructure across the country. Houses could now be built on two levels, due to the chimney, and the mass production of the brick makes this even more possible. People flocked to the towns, demolishing old houses and building new ones, showing off their wealth through using glass in their materials. Literacy also improved during elizabethan England as books were published in english for the first time, it gave people the ability to move up in social class and was part of the ongoing social revolution. School also became more widely available for boys, teaching boys to read and write in Latin, improving literacy further and allowing new scientific discoveries to made as well as new exploration of the globe.
Sunday, 22 March 2015
WEEK 1
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Read through :
Reading through the play as our characters helped me to gain a further understanding of the events within the play, as well as how the play may be brought to life on stage. Standing allowed the read through to maintain energy, keeping us engaged and focused. It also allowed me to feel how i may move on stage when saying my lines.
Furthermore, i was able to see who i was speaking to in a scene and who else was in that scene, allowing me to visualise where i would be directing my speech. Discussing the events in the play and what happens when was useful in dissecting what characters were speaking about in each scene. Overall i think the read through allowed us all as a cast to come together over the script and all be on the same page in understanding the play, its events and its themes.
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Laban efforts :
We worked on laban efforts to help us in thinking about our characters movements and which efforts may apply to them. For my character of 'Boy' I felt Dab was the most fitting effort to give him overall as it has a sense of youth in the light weight as well as the sudden movement. Working on this is something i find really useful when coming to terms with a character and understanding their movements. By starting off overplaying the action it allowed me to tone it down enough to create movement that looked believable and everyday.
For my characters walk i felt he would have weak knees, therefore them being bent when he walked. I thought again this created a sense of youth and also a timid nature, which as he works for others and does what he is told, i felt he may have. This exercise has helped me massively in coming to terms with how i may go about tackling my character and using the individual efforts to find points where he is, for example, 'punch' or 'wring'.
In the class seeing others walking as their characters allowed me to have more of a visual on how the piece will look on stage as seeing, for example, the actress' playing Henry V walk in the space as him showed how dominating his presence could be on stage.
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Factory Workers :
We also looked at using laban efforts to create our factory workers characters. For my woman I wanted to use 'float' as i thought it had a child like nature to it that would allow her transition to the character of 'boy' to make sense. Taking the effort into account i imagined she would be very unfocused in her work and her mind would trail off to other things. I also thought she would have a bounce to her step and would be a happy character. I found these efforts again very useful increasing an instant initial character that i can now move forward with and develop.
-------------------------------------------------------------------------
Read through :
Reading through the play as our characters helped me to gain a further understanding of the events within the play, as well as how the play may be brought to life on stage. Standing allowed the read through to maintain energy, keeping us engaged and focused. It also allowed me to feel how i may move on stage when saying my lines.
Furthermore, i was able to see who i was speaking to in a scene and who else was in that scene, allowing me to visualise where i would be directing my speech. Discussing the events in the play and what happens when was useful in dissecting what characters were speaking about in each scene. Overall i think the read through allowed us all as a cast to come together over the script and all be on the same page in understanding the play, its events and its themes.
--------------------------------------------------------------------------
Laban efforts :
We worked on laban efforts to help us in thinking about our characters movements and which efforts may apply to them. For my character of 'Boy' I felt Dab was the most fitting effort to give him overall as it has a sense of youth in the light weight as well as the sudden movement. Working on this is something i find really useful when coming to terms with a character and understanding their movements. By starting off overplaying the action it allowed me to tone it down enough to create movement that looked believable and everyday.
For my characters walk i felt he would have weak knees, therefore them being bent when he walked. I thought again this created a sense of youth and also a timid nature, which as he works for others and does what he is told, i felt he may have. This exercise has helped me massively in coming to terms with how i may go about tackling my character and using the individual efforts to find points where he is, for example, 'punch' or 'wring'.
In the class seeing others walking as their characters allowed me to have more of a visual on how the piece will look on stage as seeing, for example, the actress' playing Henry V walk in the space as him showed how dominating his presence could be on stage.
------------------------------------------------------------------------------
Factory Workers :
We also looked at using laban efforts to create our factory workers characters. For my woman I wanted to use 'float' as i thought it had a child like nature to it that would allow her transition to the character of 'boy' to make sense. Taking the effort into account i imagined she would be very unfocused in her work and her mind would trail off to other things. I also thought she would have a bounce to her step and would be a happy character. I found these efforts again very useful increasing an instant initial character that i can now move forward with and develop.
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