INTRO
This module (THE3000) focused on a group performance, with each individual being assessed on their performance within a chosen role. The process of the module was firstly reading a selection of plays assigned by the module leader. Groups then formed, based on their interests, balance of skills and their willingness to work with a certain text. Once the groups became existent we re-read the text chosen and discussed our opinions on various issues relevant to contemporary theatre and the aesthetics surrounding the production of the text. As an ensemble we chose Christopher Durang’s play, Betty’s Summer Vacation, initially because we all enjoyed the humorous satirical elements of the play, however as our discussion progressed we started to discover and develop our ideas so as to give them more depth.
When pitching for Christopher Durang’s, Betty’s Summer Vacation we looked into the text in great detail and thought about way in which it could be staged, we considered the staging through a directors eye as well as a designer and actor. As an ensemble we thought this was necessary to do in order to gather all vital information needed for a successful proposal and pitch.
After successfully completing this, it was here where each individual was assigned a specific role or job. In a production meeting, we voiced our chosen roles and spoke of why we felt we could execute it well. My strongest role has always been visible through costume and working within a costume team.
AIMS OF MODULE
For this year’s production I chose to take on a bigger responsibility within the group rather than simply just performing. I felt it would offer a new challenge and give me a greater sense of confidence in understanding the importance of my job. ...
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...ob that involves pressure and a sense of responsibility. I have learnt the importance of working with other members of the team, as if this relationship between the two is bad, it could have a major impact on the developments of the play. I have also learnt to voice my opinions, and not be scared of it not being good or ‘useful’. If everyone felt like that no ideas would be formed so any idea can be modified or developed to create something successful.
WHAT I DID WELL
In regards to my aims, I certainly feel I did achieve my goal of coping with the demands and pressures of the job at hand. I feel I worked well with my fellow students, in assisting them if they needed help and also approaching the stage managers and cast to get feedback on my designs. I also feel I worked very strongly on a very small budget, at times having to create something from very little.
It is imperative to understand the significance of the profound effects these elements have on the audience’s response to the play. Without effective and accurate embodiments of the central themes, seeing a play becomes an aimless experience and the meaning of the message is lost. Forgiveness and redemption stand as the central themes of the message in The Spitfire Grill. Actors communicate character development through both nonverbal and verbal cues; their costumes serve as a visual representation of this development by reflecting the personal transformation of each character. In the case of The Spitfire Grill, set design is cut back to allow for the audience’s primary focus to be on the actors and their story. Different from set design, the use of sound and lights in The Spitfire Grill, establishes the mood for the play. In other words, every theatrical element in a play has a purpose; when befittingly manipulated, these elements become the director’s strongest means of expressing central themes, and therefore a means of achieving set objectives. Here again, The Spitfire Grill is no exception. With the support of these theatrical elements, the play’s themes of forgiveness and redemption shine as bright as the moon on
To begin the Module we had to establish our teams. As we had previously worked together we chose to work with the same group consisting of myself, CG and HW. (Initials used for confidentiality purposes) Throughout this experience I found that effective team work improved our outcomes as topics could be approached from different angles. Each of us were able to contribute our own thoughts and ideas stemming from our individual experiences, practice and settings and we were able to appreciate new perspectives and techniques from one another. For example, I learnt about the positive experiences that free flow play experiences have had at both CG and HW’s settings.
Novels and plays are essentially the same in the sense that they assemble the means necessary to showcase a variety of stories ranging in diversity. The quintessential underlying difference between the two is the format in which the stories are displayed. Plays, like Hansberry’s A Raisin in the Sun use literary techniques such as dialogue, acts and scenes, and stage directions contrary to novels to guide the audience’s response and interpretation of the characters and actions in the
Woolway, Joanne. Drama for Students. Eds. David Galens and Lynn M. Spampinato. Vol. 1. Detroit: Gale, 1998. 292-94. Print.
One of my main focuses in ASB was connecting with the majority of the school’s interests. Being the outsider, I had to adapt to develop a new concept and interests to connect with the school. When planning and organizing events, you have to try to please the general audience. Different events made me discover that other lifestyles and personalities to me that I never knew. I encountered that I influenced others to media and video graphics from my work. Many enjoyed my work and I ended up teaching others how to edit. This enabled me to meet new people and see other talents people had in them. As such, they were interested and wanted to continue the little short films.
Shakespeare’s Twelfth Night is a comedy that has been interpreted in different ways, enabling one to receive multiple experiences of the same story. Due to the content and themes of the play, it can be creatively challenging to producers and their casting strategies. Instead of being a hindrance, I find the ability for one to experiment exciting as people try to discover strategies that best represent entertainment for the audience, as well as the best ways to interpret Shakespeare’s work.
It all started in October when I had decided it was time for me to take on my first big responsibility, a job. As I walked through the back doors of Canada’s Wonderland, I was greeted by the fresh scent of baked goods, screaming children, and thousands of people having a good time. Timothy Lin and Megan Jez, the area supervisors, lead the cast of Camp Spooky to the makeup room to meet one another. As I looked around, I was amazed by my colleagues. They
Galens, David, and Lynn M. Spampinato, eds. Drama for Students. Vol. 2. Detroit: Gale, 1998. Print.
Even if I didn’t make it, I don’t think anyone realizes what you learn when training in this profession. Musical theatre has allowed me to step up, commit to my work, become more confident and to have fun! You learn to become focused and pay more attention to detail. Building sets, reading scenes and learning music betters your communication and listening skills. All of these skills I have acquired over the last few years and I they are still helping me to grow. I think my biggest take away from this past summer is to become more confident as a person and in my work. Confidence is a big part of doing musical theatre. Some people having no confidence or a little too much. Trying to gain confidence has made me appreciate my body, the little things and what I do. I have already had many people come up to me at school and tell me that they’re loving my new glow confidence and love for myself. Overall, I see why people doubt the career, but they only consider the outside results. Musical theatre has made me the person I am today and I will never forget
” Drama for Students. Ed. Anne Marie Hacht. Vol. 21.
This piece was a lovely piece it allowed me to be humorous and serious at the same time, I was able to show that I can work well with staging in the way I used the stage and my stage presence was seen, I was also able to show that I can play different characters from different genres and I also showed my skill of being able to do accents with this piece cause I was a coloured lady with an Afrikaans accent and I was able to maintain it throughout the piece I also showed that I am good in my characterisation skills because in my first piece I was more of an emotional person and in this one I’m more of a dominant rough character like the way I was making threats
Technical Theatre class was a great learning experience for me. When I first signed up for the class, I wasn’t really looking forward to it. I had always been quite clumsy, and I’d never been very handy; so I didn’t think I would be of much use to the set building process. However, before the building process began, the class was taught how to properly and safely use power tools. Being educated on how to handle the equipment made me feel a lot more confident. Now, I’m proud of myself because I ended up getting a lot of work done that I didn’t think I was capable of.
instance in our scene we had to enter a lift but to show this in a
In this paper, I will be focusing briefly on my knowledge and understanding of the concept of Applied theatre and one of its theatre form, which is Theatre in Education. The term Applied Theatre is a broad range of dramatic activity carried out by a crowd of diverse bodies and groups.
My experience watching a live theatre performance on stage was a fascinating one, most especially since it was my first time. I attended a staged performance of “The History Boys” in a small theatre called “The Little Theatre of Alexandria” at 8:00 pm on Wednesday June 8, 2016 in Alexandria, Virginia. The overall production of the play was a resounding experience for me particularly the performance of the actors and the design of the scene made the play seem real.