Earthquakes in London Project

 I chose this image based on equality. 

Preparation:

                                                                                The images I have chosen are based about the government and the aspects of society.          
 

Image about diversity 

Slide 4 - Narrative, Plot and Character 

• Each minor character is important to the play. Big impact on the plot.
• Older woman - dwells on the past and old people hold on to the memories. 
• They bring colour to the performance based on their actions, words and personalities. 
•  The Mothers - Serious. Seem to be happy caring mother turn out creeper. 
• Liberty - bringing colour to Colin's life

Idea - colours of the characters after Freya's death

Idea - colours of the characters

Slide 5 - Themes 

Broken families 

The topic of dysfunctional is one of the important themes Mike Bartlett has based the play on.   

• In the UK, they are 72,000 dysfunctional families who have no father at home. 
• About one in three children's parents in the UK are either divorced or separated.
• The reason why more issues of broken families come round is that in the UK there are many teenage pregnancies and where couples don't always say together.  More families are getting divided up.

Slide 7 - Brecht 

• Brecht was born on 10^th February 1898 in Augsburg, German Empire.
• He died on 14^th August 1956 in East Berlin, East Germany.

 Bertolt Brecht is a German poet and playwright 

Achievements (Career)

• In 1918, aged 20 Brecht wrote his first play ‘Baal’.  It was the story of an aimless youth involved in several affairs. In 1923, the play was theatrically produced.

•   ‘Drums in the Night’ was his second play he wrote.  It was written between 1918 and 1920 but, produced in 1922 before his first play (‘Baal’). 

• In 1923, he wrote the script for a comic, slapstick film ‘Mysteries of a Barbershop.’ Even though it wasn't successful in his time, it later on came to be regarded as one of the most important films in German film history.

•  His play ‘Man Equals Man’ was produced in 1926 which explored the themes of war and human identity.  In 1928, the musical ‘The Threepenny Opera’ was premièred under collaboration between Brecht, Kurt Weill and Caspar Neher.

•      In 1930, Brecht’s play ‘Rise and fall of the City of Mahogany’, a political satire opera, composed by Kurt Weill was performed.  In the year 1932, he wrote the script for ‘Kuhle Wampe’ which is a German film dealing with issues of unemployment and left wing politics.

•  His play ‘Life of Galileo’ was written between 1937 and 1939 but, was only produced theatrically till the middle of 1940’s.  It was a historical drama concerning the later years of the Italian philosopher and scientist, Galileo Galilei.

•  ‘The Threepenny Opera’ is a musical that premièred in 1928 which had been translated into 18 languages and performed more than 10,000 times across Europe by 1933.

 Award – achievement

•   He was awarded the prestigious Kleist Prize in 1922 for his first three plays ‘Baal’, ‘Drums in the Night’, and ‘In the Jungle.

      Slide 9 - Social Political, Content and context introduction

•  Equality Act was created in 1970 introduced by UK Parliament as they wanted to address discrimination. All these acts, failed to meet gender equality. 
• However, in 2010 UK Parliament passed the Equality Act.  It's been growing stronger and they have done away with the old opportunity laws and made a more encompassing law. 
• This one act is to ensure that all people in the UK are treated equally. 

Slide 10 - Politics 

• Chris Huhne was minister for secretary of state for energy and climate change in 2010.
• He came across as an manipulative person especially when he got his wife to take the blame of a motoring offence. This meant the points were added to her licence. 
• Huhne became a member of the Liberal Democrats' key negotiating team to arrange the agreement with the conservatives to form a coalition government.
• The relevance of persuading people to be environmentally friendly is still as importance today as it was in the time of the play.
• Chris Huhne reminds me of Robert as they both are championing the cause to 'save the planet'. 
• On a news report on the TV on Friday 5th March 2010, the Earth is warming up due to burning fossil fuels. 
• Only recently, lots of countries have got together and come to an agreement to reduce their emissions.  It's taken 6 years to agree the way forward.
• The ice capes our melting and the polar bears habitat's are disappearing that would still be recognised today as it's still relevant because it's getting worse.  (Man in polar bear scene also Robert and Steve's scene talking how Steve likes the simple things).

Vocal Development from performances

Contemporary performance

In The Wardrobe which was our first production, I played my character of Susan with energy and enthusiasm.  About half way through the scene, my voice started to sound shaky and the pronunciation wasn't as clear as it was in the beginning.  My nerves got the better of me and I found it difficult since I missed time of college due to mild concussion.  I was still suffering and wasn't so prepared which contributed to my nerves.

Naturalism:

In my second performance of The Cherry Orchard, I still had problems with my shaky voice as my nerves were still there and this effected my articulation.  Charlotta was meant to be portrayed as a strong character but, through the emotion and various pitches in my voice I made her  sound weaker than she was.  This changed some of my characteristics vocally.

Chorus

In our adaptation of Greek Chorus, our setting we chose was in a school and we instantly felt that using chavy accents was perfect for our characters.   I felt that my voice had energy most of the time but, I found it hard to sustain the accent.  As a ensemble I felt like all the different pitches at the end of our performance,  when we say 'na na na na na' which created a menacing and intimidating atmosphere.  As a chorus, I felt like we gave a realistic performance based on the peer pressure in schools.

The Fart Yoga - Monologue:

For my monologue, I played Amy, the younger sister of Zelda.  I felt like it was effective when I spoke quietly at the beginning to make it sound like I have a dirty little secret which I only wanted to tell a close friend.  However, I would raise my voice to put a point forward in response to 'but could yo step outside for a moment.  Some of us are trying to practise yoga.'  I've had an issue with the speed where I start at a good pace then the momentum builds up and it's too fast. 

Yoga Fart - Amy's monologue

About the monologue - Fart Yoga

The monologue I have chosen to do is from Yoga Fart by Gabriel Davis.  The basic plot of this play is that Amy's big sister Zelda is getting married and it's not long till her wedding.  However, she wants Zelda to have a perfect wedding even though she slept with Amy's boyfriend.  To stay calm, Amy is focusing on herself by going to a few yoga sessions.

In this monologue, she talks about how proud she feels to find her 'greatest strength' which is not just farting in public.  Amy 'felt a lightness, wonder, awe' and it makes her realise that other people's disapproval won't stop her for being herself.

Thoughts and ideas to perform the piece

Based on what I found online, lots of people who auditioned with this monologue focused on making sure their voice was clear and didn't focus on their character so much. There's not much that I know about this monologue as I've never had chance to read the play.  When I do my interpretation of this monologue, I will be at home with my best friend as I try to teach her yoga.

Amy Amierah 

Recently I found someone on YouTube who had performed with different yoga poses which has made me feel less anxious performing yoga.  Amy Amierah's video has helped me see a lighter side to the character Amy.

Yoga Positions form Diana Antholis's Yoga video (https://www.youtube.com/watch?v=nNokxiopp7s)

 Diana Antholis's yoga video - Mountain pose 

After watching a few of her yoga videos, I noticed that she started off in the same position called Mountain pose where you stand up straight, then start to focus on breathing in through your nose and out through your mouth to relax.  This is also a good way to help me with breathing control.  It helps to rest my hand on my stomach and have my eyes shut because I will be focusing on my breathing, also the character Amy is focusing on herself which is what I need to do but, show how I focus in my own way.

Next thing Diana said was to bringing the arms over my head as you breathe in and out then move your arms back down again.  When repeating the simple movements, I need to concentrate on my breath as it helps me to relax and warm up my body.  As I bend forward, I need to remember to let my torso hang then place my hands on the floor.  I bend my knees for a deeper hamstring stretch.  Looking up I need to flatten my back and hold onto my shins.  After that, I move into to the plank position (see picture below).

Plank position - Diana Antholis's yoga video

Plank position is something I have struggled with a lot and it takes a lot of focus let alone practise to balance yourself well.  From this position, I  need to lower myself to the floor and then push up on my arms this is called the upward dog.

Upward dog pose - Diana Antholis's yoga video

Downward dog - Diana Antholis's yoga video

Pushing backwards whilst lifting your hips to form a triangle shape. This is called the Downward dog.  It is extremely important to concentrate on your breathing, yoga is teaching me inner strength to cope with any situation.  These moves I shall be using throughout my piece and probably repeating them to become a routine.  At times I shall be using one of the most well-known yoga positions which is the Cobbler's pose.

Warm up exercises 

To me the Cobbler's pose is the easiest and most helpful pose to do but, I need to sit up straight this helps with posture.  Apart from focusing on these yoga positions, I also have practised on different warm up exercises whilst sitting in the position.  For example, red lorry yellow lorry or unique, New York.  Tongue twisters help with articulation and pronunciation.  I find closing my eyes helps me to stay focus.

Yoga Fart monologue

I farted in Yoga class.  It was loud.  And I didn't die.  My heart started pounding but it did not explode.  I thought I would be devastated but I was not.  Instead something unexpected happened.   I laughed.  At first a little giggle and then a full blown belly laugh.  In fact, I laughed so hard that I farted again.  And again, and again. Embarrassing, no?  No.  No.  

I could feel people staring but I didn't care.  I thought I would care.  Feel my palms grow clammy, my chest tighten.  No.  I felt a lightness, wonder, awe.  Who knew I had so much air inside me.  My body had deflated but my spirit had inflated!   I waited for the self loathing to come.  But there was only... Stillness.  Silence.  Then in that silence, a little voice.   I love you.  Your body is amazing.

I realized, this was why I'd come to yoga in the first place.  No, not to fart publicly.  To fart publicly and survive it.  I know, it's unladylike.   But in the depth of this indignity, I had found my greatest strength.  Here I was looking my fear in the face   And believe me, I had feared this moment.  I had played it out in my mind.   And it always ended with all the ladies around me pulling hidden rocks out of their lululemon attire and stoning me mercilessly. But not much happened. Here i was staring fear in the face and realizing...it was a bunch of hot air.  And i could release it!

I breathed in deep, so deep another loud exclamation of my new found freedom erupted from my behind.  "Excuse me," the woman behind me said.  "But could you step outside for a moment.   Some of us are trying to practice yoga..."   This should have destroyed me.  It should have sent me whimpering out of the room.  But I felt my calm breath, heard myself say:  "Excuse me,but I am practising my fartnassanas thank you very much."

Then something amazing happened.  A little noise erupted from another corner of the room.  A few other people giggled, then laughed, and then more noises erupted.  And it was beautiful.  A symphony of fartnassanas. I was free, they were free.  And I realized in that moment...I was free of you, too.   You can't hurt me any more.

This piece is longer than 2 minutes when performing with yoga poses.  As it's a long monologue I have cut it down a bit to fit it in with the time allocated. The red words have been removed because I needed to keep the funny aspects of the monologue but, make sure it still flows.

Auditions with Karen Leadbeater

About the play

Mike Bartlett’s Earthquakes in London play deliberately jumps between past, present and future. The title is based on the scientist’s (Robert Crannock) prediction of the earthquakes in London however, it’s not all about the earthquakes. The leads roles are the scientist’s daughters Sarah, Freya and Jasmine all living separate lives. In my opinion it could relate to the certain events in his daughter’s lives that go towards building up the event of the earthquake.

Sarah is the oldest out of the 3 sisters, she works on the political side being part of the labour party.  She chooses to have a halt on the airport expansion, this character thinks about the environment more than the economy.  Freya, the second oldest sister is expecting a baby and her depression is growing.  She’s unsure about the future and about her future child too. Whilst Jasmine aged 19, is a contrary teenager who studies at University and is the only one who’s embarrassed about Sarah’s high, official, political job.

In this play, it shows us the trials that each character goes through in their everyday lives and intentionally shocks the audience.  Reality will unravel and we will see the opposite of our views of this loving family.

Auditioning process

Karen auditioned us because we need to learn and experience an audition process that all actors will undertake because you can’t pick and choose.  When auditioning, it made me think of why she was doing this and showed what a director would be looking for or thinking about and what actor would be fit for each particular role.

I auditioned for Sarah but, at times I lacked understanding to maintain the character of a headstrong woman and showed her at times to be quite emotional.   It was difficult to keep with the same serious and cold manner she had.  My target for Sarah if I got the role is to be proud but, also cold and not show so much emotion as it would ruin the character.  I auditioned for Sarah quite a few times but, auditioned for smaller parts too because I felt I liked the idea to experiment with the different roles that I could do.

My audition for the character Liberty who works in the shop Liberty.  Is that ironic?  Well, I find out in the play that her originally her name is Nicola and she changed her name to get the employer’s attention, since she’s always wanted to work there – it was her dream job.  She went as far as changing her name, dressing to match the colours of the poster and signs outside but, also her make up is also the same colour as the walls.  That sounds like she is dedicated, crazy and I could develop this character to give a lot of expression not just from the way she looks but, the way she is.  My target for next time if I come to play Liberty is to develop a bubbly side to the character and express myself through enthusiasm.

The character that I found difficult to try and audition for was the Old Woman.  Karen felt like she wanted me to try this role but, it was different to the younger characters I have played.  The way I firstly portrayed this role was to put on an old woman’s voice, not only did it feel strange but it destroyed the character.  I discussed with Becky who was auditioning with me but, for the role of Freya, we spoke about how I needed to portray her through voice.  I performed her and aimed to speak softly with a caring voice as that is the way older woman typically speak.  My target for next time is that I should imagine the character as an animal so, it will help me portray the role physically. 

Casey was the other role I auditioned for and I was actually looking forward to trying this role.  I had mostly auditioned for the smaller roles but, I loved the scene because it was quite funny to read when I first read it.  Casey in the play has been redundant in this scene.  Sarah gives her a small cold-hearted goodbye speech and a present.  It ends up with a difference of opinion when Casey is surprised that Sarah knows nothing about her and the fact that she doesn't drink coffee.  This role wasn't so challenging because I was able to think about it quite easily and when I performed it, it made people laugh and sometimes I wasn't able to hold my giggles.  This lost the character and my target if I got this role, would be to focus on a method to contain my laughter because it crumbled in the way I portrayed Casey’s character. 

Earthquakes In London

Creative springboard

The way we decided to interpret the play in class was to draw an image and this was our interpretation that reflected towards the play.  Listening to other people's interpretations was really interesting to hear their thoughts.  Also how everyone's thoughts seemed so different to others.

I drew a picture of the world but, in the middle of the earth is a sand timer.  This was to indicate that we have so much time on earth and it is slowing running out for people.  There so many people in this world but, sometimes time can be quickly wasted when people don't make the effort to think about others than themselves.  It can also depend on the characters in the play, it also reflects that we are all living one life but, in this the sand timer represents Freya and the fact that it's not long until a decision is made.  A decision that could control others around her to make new decisions.

Idea 2 - A lot of pressure leads to an explosion

My second idea which wasn't drawn because I struggled thinking about something very creative. I thought of the idea that when people have done an experiment when they add mentos (sweets) to a fizzy drink or when you shake it up it can explode everywhere.  Relating this to the play, the amount of stress and sign that Freya gets about how she can't deal with bringing up a child of her own but, how she doesn't feel safe or happy any more.  The pressure is where we reach a big explosion where everything is too much.  The pressure takes not only the other characters a show but, the rest of the audience. The little things lead up to the biggest things.

Photos from images when I think of Earthquakes in London

Busy London Traffic                                                             Explaining why I chose these images

Busy London Traffic from Google Images 

The reason I chose an image of the busy London traffic is one of the obvious visual thoughts when you think of London.   I think of busy streets, a lot of noise and lots of people.
   The busy lives each character goes through reflects on London traffic as they are all trying to get to the target and back again.   Traffic relates to panic but, relates to panic from the sisters journey throughout the play.

Pollution

London Pollution from Google Images 

Another image I chose was an image of pollution as the earth is polluted by people, Robert describes.  He wants Freya to kill the baby so, it doesn't suffer in this world.   All the people are suffering with the way that Liberal Democrats decides about air expansion and is thinking about the economy but, not how the environment would be affected.

                                                    The War Of The Worlds

Tripods from The War Of The Worlds from Google Images 

The last image I chose was another idea of panic where Martians have invaded the earth. In the War Of The Worlds it's about 'a massacre of mankind.'  Both The War of The Worlds and Earthquakes in London they both have weird outcomes.  Also the Tripods ruined everyone's lives whilst in the play Sarah and Robert's cold ways are ruining the lives of the people in the economy.

The main character who is known as the journalist decides that he wants to commit suicide because of what has happened to everyone on Earth who has been killed by the Tripods.  Both him and Freya from Earthquakes in London think it's best to end their lives than stay in a place that feels like hell.

Result of audition roles

The roles that I got given where the Old Woman and Liberty. Two different roles and Karen says that I suited multi-roles than just having one role. This will be a challenge but, my targets for the roles for each character won't change. The target for Liberty is to develop a bubbly side to the character and express myself through enthusiasm. Whilst the target for the Old Woman is  that I should imagine the character as an animal so, it will help me portray the role physically.

I have also been given the role of a Mother but, the way Freya sees The Mothers are perfect however, they are certainly not as they have a creepy side to them.  The Mothers manipulate her and upset her because she's not like them. They feel like she is the one in the wrong.  My target is to reveal this character with a strange side showing the audience this not the reality of how a real mother should act.

Character Profile

Dialogue about Liberty  (talking about herself)

• "This isn't just a shop"
• "This is Liberty." 
• "Not really.  I wanted to work here from when I was fourteen.  I love this place, the people, the lighting..." 
• "Then when I was eighteen I applied for the job, I put Liberty on the form, as my name.  I thought it would grab their attention I was right."
• "Nicola's shit, Liberty's better..." (Nicole is her birth name)
• "Jasmine doesn't mean anything. Liberty's better. It means freedom."

Dialogue said by other characters about Liberty

• "Do you have to wear all that make up?"
• "You must be really depressed working in a shop like this, standing here all the time, you look really depressed." 
• "It's probably not much is it?"
• "Can't believe you're called Liberty. What was your old name?"
• "Is that what you told her?"

Liberty's actions/behaviours:

• Walks over to Jasmine after hearing her speak about her.
• Persuades Colin why she should by a new outfit from the Liberty shop.
• Seems shallow at first.
• Flamboyant - the way she has dedicated to what she looks like than the uniform you need.
• Trying to make an impression - a statement.

Notes to self - Character - Liberty

Absolutely Fabulous - Edina 

Edina Monsoon from Absolutely Fabulous would be a possible character that I can relate to Liberty.  She speaks posh and well spoken however, they both show a bubbly and creative side towards fashion. 

She is has an outrageous and expensive wardrobe. This links to Liberty's wardrobe chose where she wears clothing to match the colours of the signs and posters of the shop. They seem to be both out there characters and aren't afraid of the fashion sense. From their wardrobe they are very flamboyant and want to make success, persuading people to buy new fashion items. 

Targets

• Watch a few episodes of Absolutely Fabulous and collect information to add to my character.
• Visit shops like Jigsaw and write experience to find out how staff remembers act when being a posh shop than a normal shop.
• Think about how I can relate this to my character and is Edwina Monsoon the right example for Liberty.  

Character update of Liberty

Edina's Jigsaw jacket from Absolutely Fabulous - idea 1 for Liberty

Pasty and Edwina (Edina's outfit on the right - young look - idea 2 for liberty) 

Edina Monsoon is the character that has ticked my boxes about her crazy fashion sense. The colourful jigsaw puzzle jacket is defiantly something I was thinking it may not look high class but, when it comes to fashion sense she is unique.  However, she did wear shoes that were uncomfortable, that idea 1 makes you think of a jacket that you could buy from either a charity shop or something a teenager was dared to get but, she shows that whatever the young people are into so is she.  Edina went with outfits that didn't go together at times but, it was the outfits that showed of her personality more than sometimes the way she sometimes acted like.

Costume list - first decision:

                                      Skirt                                        

                                   Tights                                      

                      Jacket (colourful)                       

Heels 

Top

                                  Change of thought - Different approach to costume idea

Diamond Aztec Tunic Dress from Select 

Orange Neon Aztec Cap Silver Bodycon Dress from Select

I have decided to get a colourful Aztec dress but, add a jacket which would be one of the colours on the dress e.g. first dress - pink colour jacket, second dress - orange.  Both choices for Liberty's dress are both Aztec dresses.  I think it will be a different to use something that people still love Aztec tops, trousers, skirts or dresses because I would use something get fashionable but, a good choice of wacky when add a jacket with a pair of shoes that may not work with it.  I have created an inspired look based on Edina Monsoon's fashion for Liberty.

Dialogue about Old Woman  (talking about herself) 

• "I miss what went with him.  How it was, when we were together."
• "Yes we had children, but I never see them.  Always got something better to do."
• "Old people can predict the weather... you see?"

Dialogue said by other characters about Old Woman

• "Was it. . . your husband?"
• "Did you have children?"
• "I'm looking I'm really looking for something goo, happening now, but you're saying things are only getting worse."

Old Woman's actions/behaviours:

• Come to the heath to see husband's grave
• Nostalgic - stuck in the past
• She has a lot of spare time on her hands
• Seems like most old ladies
• In doubt or grief

Notes to self - Character - Old woman

Judi Dench's character from Philomena [4]

Judi Dench's character from Philomena was what I imagined and what most old people where with the bouffant style blouse which shows that she's sophisticated.   The trailer I've watched (https://www.youtube.com/watch?v=rG3QP8foCvg) she dwells on the past about how she lost her son, it sounds like her son was taking from her.  So this relates to people about not seeing her children as they always have something better to do or in this case how much they worry.  The fact she also has some sad but, dark ways like where Philomena said "I did not abandon my child" that has given me the idea to say "Well I hope she can fight" as she is straight to the point even though she sounds like a sinister character.  Maybe the Old woman has also lost her children, that could be a way why she seems like she holds onto the past so much.  The character Philomena has showed me different ways to try the Old woman character.


Old Woman - Spring board moment 

The challenges to become and act as an old woman is to have the right tone of voice.  Using my natural voice and speak softly has made the character seem like she isn't old at all.  The voice and expression is something very key about this character.  It's been difficult to sound like a old woman as I keep losing the voice or it sounds like a creepy strangled voice.  My target is to find a solution to help with the voice.  Speaking softly helps but, I feel like she is missing something.

Since my character sounds like she's trying to persuade Freya how the past is much better than today and how unhappy the future with be.  I think that she's like Robert but, doesn't really believe that any good things will happen, that losing her husband won't change things and how she won't see her children.  Maybe her family are a dysfunctional family, they have been divided too. 

After several weeks of being this character, in my notes I got some notes, I need to think about the way the witch would sound and act like.  I have been working on the voice my witch impression is getting better and slowly making this old woman character more realistic.  Using this witch voice it helps with different pitches and tones of the voice to reveal the character in more detail.

Targets

• To create an old woman physically. Don't just concentrate on the voice, concentrate on the our movements and body posture.
• Don't close down
• Show knowledge through the character

Costume

My version of the Old Woman's costume 

To the left you can see a picture which is my Old woman's outfit that I will be wearing in the performance.  I found a bouffant style blouse.  I feel like it shows how the way they are sophisticated they way they dress.  Also it may look old fashioned but, they feel comfortable and wear things that suit them.

Next the skirt is an unusual green colour but, it reminds me any flowy skirt any older woman would love to wear.  It's perfect.

I will wear some tan brogues which is the closest shoes I could use that I actually have.  I think it would suit well with this character. I also have a cream coat which looks fantastic and completes the look of this character.  Also look out for the small things in a costume that makes the look, it helps when you imagine it and you know exactly what you are looking for.

Dialogue about The Mother (talking about herself)

• "Henry's very bright, he's already reading.  He'll go into hedge funds or a surgeon.  Something like that."
• "We do what we can."

Dialogue said by other characters about The Mother

• "Okay."
• "Do you worry about the future?"
• "How was the birth?"

The Mother's actions/behaviours:

• Wheeling pram with her baby inside
• Protective when Freya asks about child being a mistake.
• Throwing babies.
• Stage directions say "they stand, wielding the children almost like weapons."

Costume idea

Normal - Black Summer outfit

The idea is to wear a black pair of sunglasses, a black hat, black trousers and a black top.  The picture on the left was an idea of what I was thinking of as all the Mothers wear black.  I am still deciding whether we should have a long top or short top, maybe we could all have different similar length tops.  The Mother outfit just felt easy but, at the same time difficult because  it seemed plain and this character needed to be be plastic happy so, strange was a good thing.  However, the outfit makes them look normal.

The Mothers - Spring board moment 

The challenges to become a Mother was to try to find a way to seem creepy.  We started of with the idea of a Weeping Angel where if you blink they move, we would move forward 3 different times and have the lights turned on and off again.  It was a good effect since we wanted to act creepy towards Freya and the audience. The idea came about when we thought about this - http://vignette1.wikia.nocookie.net/powerlisting/images/c/cb/Weeping_angel_gif.gif/revision/latest?cb=20140518000528.

We haven't used it yet but, I hope that we can use it to show odd the Mothers character can be.  They way they manipulative Freya and show her that not all mothers really do care about her child.  The Mothers make her feel like she may turn out like them or the way that she may want to abandon Emily, it makes us think about how would she raise a child and not become a mother like The Mothers's are showing what every mother must be like in Act 2.

Targets

• Be plastic happy - fake 
• Not so bothered about Freya
• Show some height in my character

Vocal Developments - VOICE

First week of practising my vocal workout routine, I was focusing on making sure I had clear pronunciation and I found out my words also need to be more articulate when I speak.  Back when I performed at the start of the year in the wardrobe my voice was quiet shaky.  I felt like I hadn't fully relaxed my body because the reason I was shaking was probably because I had not warmed up properly as I felt cold and a little tense in some places. I've added massages and full body exercise to my vocal workout including body roll down where I roll down to my toes then back up again with my chin to chest. This is a way to relax each vertebrate and thoroughly relax my body.

Another exercise that I have been practising includes a tongue twister "Unique, New York".  Here, words are exaggerated when two fingers are placed in the mouth in the middle between front teeth, as this helps to improve the sound of articulation. Concentrating on the sounds of the words with two finger places in the mouth is a way for the tip of the tongue and lips to work more since the teeth is biting down on the fingers.  It helps to warm up my voice which is the vocal instrument of an actor.

Articulating slowly is easier to start of  with and you can listen to the sound of the words that help an actor than talking quickly because you lose the sound of the words.  For example, my character Charlotta in The Cherry Orchard at times spoke too fast and some of the words were lost from the character which made it difficult to understand her personality. To make sure every sound of the word is heard the target would be to use different tongue twisters to improve pronunciation and fluency.  For example, "What to do to die today" was an effective warm up which helped me in past performances to warm my voice up. Also tongue twisters can help me to enhance accents by using a repetition of a sound.  It benefits not just for actors but, for speakers today who want to be heard clearly.

I've been sticking with same thing for a while now, which is improving my pronunciation.  To relax myself I do facial massages and also practise yoga.  This make sure your body isn't tense.  It's so important for their to be not tension and also the times I have done yoga for my solo monologue piece it helps to relax me a little more each time for times when I felt stressed or upset, it builds up strength to continue.

Greek Theatre

Greek Chorus [1]

GREEK THEATRE

Intro

Our new project is Greek Theatre.  This project is to help us discover a new physical theatre and learn particularly about Greek Theatre Chorus to learn how to be in a chorus as a group.  Our aim at the end was to understand and perform several parts of The Oresteia Part 2 - libation bearers.

Research

One of the two main ways that people still know about Ancient Greek Theatre from Classical Athens is they still have 45 texts plays so people understand the stories behind each when understand about it from the playwrights meaning.  Also they have many ancient sources, that have remained like Pots. Greeks loved and were known to paint theatrical scenes from their famous myths on vases or pots.

Greek Pot - Left to right from the play Agamemnon -  Clytemnestra, Aegisthus, Agamemnon, Electra and Cassandra [2]

Aeschylus was the Greek playwright we have been looking at.  The picture above on pot is about when King Agamemnon comes home from war he brings the Trojan priestess called Cassandra back to his home who has become his slave.  Whilst he has been away Aegisthus, his cousin has ruled the Kingdom since he's been  away.  His children Electra and Orestes but, Electra is only one shown here to meet her father when she gets home.  I found out later on Clytemnestra the wife of Agamemnon isn't pleased when his husband has returned home finding out Iphigeneia there oldest daughter was killed by him and ends up killing him. [3]  This play is a Greek Tragedy which is one of the genres of drama by the Greeks. 

The other two genres of drama are Saytr and Comedy.  The way that each actor performs in the play is they use an over exaggerated mask that will give all the detail and expression they want to depict this emotion.  Depending on the mask, will depend on the character.  Low and poor classed masks where used for Comedy whilst beautiful masks are used for Tragedy.  However, the masks used for comedy could also be used for Saytr they were 'very rude comedy plays' as Dr Sean McEvoy explains. They wore the masks as to the actor it was a religious ritual.  The were allowed 3 masks which meant they had 3 different roles to speak theatre in that play. [4]

  The Festival of Dionysus happens around March or April time also known to people as the time that the sailing season has started.  Greeks everywhere would come to this event and they loved competitions. In this festival, 3 of the Tragic playwrights would compete against each other but, they'd all be sponsored by a rich man who had paid for the production too.   A jury would of been selected so they could judge and pick who's was the best play.  It wasn't all about money but, having your name and the playwrights name of who won on a Theatre's wall showed recognition and pride. Something people would always remember when coming to that Theatre. [5]

The Orestia 

The Orestia Part 2 - Liberation Bearers [6]

The Orestia Part 2 - liberation bearers themes that are including in each play are fate, justice and revenge. Exile is very important too.  Orestes at the beginning of the play, wants return home and to a moment where he was happy when he's father was alive.  The belief for Orestes is that he would reclaim some past happiness if he kills his mother as he's doing it for his father.  It doesn't seem to make me happy though as the chorus ends up haunting him. [6]

The Greek Tragedy story where Orestes, son of King King Agamemnon has a quest to kill his mother Clytemnestra and her lover, Aegisthus.  The Furies which are the chorus in this case are his persuasion to murder but, also end up hatting him from murdering them.  The God Apollo has promised him that he will not suffer for the crimes he was persuaded to commit. [7]

Group 2's start - Spring board moments

Karen separated us into groups based on our thoughts of each part that we read as a class.  The group that I was put in already had an idea.  One of the group members, James had an idea about we could modernise it and have a Mother's meeting that Orestes was the waiter and we were the mother's gossiping about it.  James's idea was hit, we did a spider diagram of ideas and also made some notes about what character we could be e.g. arrogant.  The video about Antigone a play performed in 2012 by to give them a identity and that even if they were individuals they were still part of the chorus. [8] 

We spaced out to show a mother's meeting from different areas of how the chorus would be haunting Orestes about murdering his mother and our views of what the chorus would think.  Instead of being crowded round a table, we were bringing the energy to life through the space.  To reveal Orestes we moved the table over his head and found ways as a group to grab the person who was Orestes down to great that the happiness wouldn't return the way he thought it would.

Using the idea of clockwork it turned out to be creepy and reveal that idea of something bad either happen or will happen based on the part we were given.  Adding the sound of cutting food also made a realistic but, the way we didn't seemed that even the things that could have been once normal didn't feel normal to Orestes any more. 

At times, when people were giving ideas I felt that this project was confusing me and struggled to understand how we could make it more effective than a mothers meeting.  My target would be to interact more and if I was confused I would find a way to understand.  Also another target was make sure I felt part of the chorus.

Different spring board idea - Senior children 

We jumped to a different idea about being senior school kids as we were told to modernise this piece and depict a different way to tell it than the original way that the playwright imagined it.  Remembering that we needed to perform to 15 to 16 years old as our audience.

To help us find a way to find out how to depict our group piece we wrote down on the board several lines and underlined the key words that we thought would give us an idea for an image.  For example, in the first line 'Let all who have prayed for justice.'  The key words that we agreed on were all, prayed and justice.  Katrina's idea was for us to show that the whole chorus would be in a praying position whether they were standing up or kneeling but, in this case praying for justice.  Saying it as a chorus sounded good but, the way we said it sounded chavy so, throughout the piece we would all sound like chavy school kids which worked very well as this piece was modernised.

The second line after that was about the throne of Argos.  Everyone agreed and liked the idea of creating a throne so, from our praying positions we were in me and Katrina creating the throne by becoming the throne's arms.  The rest of the group behind us became the rest of throne.  It created a clear image about a memory from Orestes past and the throne that was once his father's.

Continuing through the rest of the lines, that we wrote on the board we pieced together and creating some usual images that I didn't think we could come up with in a short space of time.  We all were involved and felt part of a Chorus.  The bit that I liked was that as a group they came up with having the imagery of me representing Orestes's mother and for me to put my arms away from my sides a bit so, the rest of the chorus could put the arms around me and surround me with knifes.  This depicts that it may have been one sword but, it felt like many swords and it showed us how much pain one sword could do because it was a murderous crime.

To add the idea that we were in a school and we were school kids we used the idea of having a school bell that would also give the idea that we would be starting a lesson but, adding a small scene that showed we had finished our break with the odd words it could give us a little introduction to the piece.  Also using props like bags made it more realistic than not just miming. Katrina and Becky liked the idea of the chattering off students being hushed by the bell to create it with a more realistic school effect.  As a group we liked there thinking and have used it in our piece, it's given it meaning but, made it more effective.

The idea of 'na na na na na' was Becky's choice because it was something that people would sing to tease otherwise.  I loved the idea that we could make it creepy with our Berkovian clockwork movements, I felt like we were being creepy clockwork dolls.

Karen gave us feedback to help us improve and find a way to complete the ending.  The idea that brought others in to mind was using the 'na na na na na' and humming together didn't show the creepiness and didn't seem like it would be uncomfortable to the audience.  So, we changed it to a hum that continued on for a long time as people joined in with me.  The stare and the head drop made people feel uncomfortable as Katrina watched us perform as a Chorus.  However, it only got ruined when it looked out of time with the hum or the head drop.  We did manage in the end.

The idea that made it very unusual from the start was that we wore tights over are faces where the audience saw our facial expressions exaggerated from the way we spoke to a give a creeper side to each character in the Chorus.  Also we could have a different identify but, use the same type of material to show we are all part of something.

Evaluation

Our performances included many strengths and improvements that we can take on board for other projects which are physical theatre based.  One of my strengths was that as a group I managed to remember the lines of the chorus which has been something I have been confused to remember and focused more on getting the physicality right.  I have managed to do perform the movements whilst speaking the words.  However, the weakness was towards the end of the piece I struggled to remember who said which line.  My target would be to find a way that I can remember my lines whether I record myself or practise with other members of my group more out side of lessons.

The story felt like an understandable piece for audience members of year 10 and 11.  The accent did feel like it disappeared half way through my performance and this became a weakness when I continued and covered it up with emphasizing words that were key to me.  Another target to help this weakness is to over exaggerate more when I spoke with the accent to help me complete the piece with the Berkovian accent because everyone else seemed to manage to get through the performance with that accent.

From only having two weeks to put a piece together, I feel like it was successful and we have worked well together.  We were able to resolve a weakness when Pau wasn't in the performance and it made us stronger as a group.

Bibliography 

[1] = https://uk.pinterest.com/pin/9781324169286707/
[2] = http://quatr.us/greeks/literature/pictures/agamemnon.jpg
[3] = http://quatr.us/greeks/literature/agamemnon.htm
[4] = https://www.youtube.com/watch?v=aSRLK7SogvE
[5] =http://www.nationaltheatre.org.uk/video/an-introduction-to-greek-theatre-0
[6] = https://www.youtube.com/watch?v=I7YNvBOpBPs
[7] = http://www.sparknotes.com/drama/libationbearers/context.html
 [8] = https://www.youtube.com/watch?v=quLkooLxsO4