Evaluation

Firstly I would like to say that I thoroughly enjoyed performing in the new theatre. As a group we fired ourselves up and performed with great energy. Despite a few hiccups we managed to pull it off and I can safely say that we came along way together. I feel that the audience enjoyed out piece as they were enthusiastic over the one hour and forty minute show. In scenes we were spurred on by the audience and this added so much more energy to the pieces and that was really great. Our characters that we created were relatable, believable and without trying very funny. This is down to our rehearsal process which allowed us to connected to the contextualisation in every way. Therefore our piece was watchable and allowed people who dont usually watch shakespeare understand the meaning behind our piece, in my opinion this is very important as we didn't shut our performance of to just one group of society.

I believe that our energetic opening engaged the audience immediately. The use of african tribal song and the rhythm of the stomping excited the audience along with the lighting and sound effects. This allowed us to use that energy through the piece. This proved difficult and in rehearsal there was often worry that after the opening there would be an anti climax, luckily this did not happen. As everyone worked with objectives in the space. A really good example of this is Caliban, He was constantly struggling throught the whole piece. Struggling to serve Prospero, Struggling to hide from Trincula and Stephana and constantly struggling to keep up with the girls. This was down to Gavin chasing his objectives in every scene. His strong characterisation was created through his tortured physicality and his accent which connected him to the environment. However the problem sometimes was laughter. The audience found allot of sections within the play funny and as actors we hadnt actually considered this in rehearsal. Due to this often speeches were interrupted.  Therefore it was a challenge to keep good timing as I had to stop but I think I learnt how to instinctually do this (without sounding pretentious).

The play was far too long. The audience must of had to work to stay concentrated. As i mentioned before it ran over one hour and forty minutes, this is down to the show not being as smooth running in rehearsal and people not picking up on cues and transitions on time. In the last section I completely blanked on my line and Im still unsure why. However this just means that to improve the play for our brighton performance the piece will have to be cut in places and cues and transitions will be tighter. However clear character decisions aloud us to maintain clear journeys which is something that was hard during rehearsals as we were constantly stopping and starting.

The set and lighting added allot to our piece as we were able to move in the space and react instinctivley, however as Gonzalo I could improve my physicality by using the set more as i could have pushed being elderly more. Despite this having a set that linked to well to the contextualisation aloud the audience to see a series of pictures within the play. On the other hand when tlking to some members of the audience the rocks blocked some of the action on the right and left hand sides of the play. Even though this occurred I believe the rocks being portable aloud us to indicate a change of location to the audience which added to the journey. The play was consistant in its theme but occaisionally text was lost due to the dask of playing three sides. Its a huge challenge, however the before the show we were directed to play only the left and right. I think this theory was effective as the procsemix  were improved and clarity was gained.

I believe we created a piece which consisted of good acting, commitment to characterisation and commented on themes that effect every single audience member in there everyday life. Of course it wasn't perfect, but its clear to see now where the challenges lie and how we are going to tackle them in order to create a piece that will work well in an outside theatre.

Rehearsal Blog

March 19^th 2013: READ THROUGH

• The read through went well, however it began to drag about half way through. The energy of the play just isn’t there but I think we will have to find that physically. The lost seem as though they are going to be vital in creating interesting pictures on stage and adding atmosphere to the piece. 

March 26^th 2013: 

• We began by Learning a song that will be sung at some point during the show:

Becky Jelly Laquale you yallan dale yuwa 

Becky jelly yonke in da wo

Becky Jelly Laquale you yallan dale yuwa 

La poo ayure somla yallan dale yuwa

Ariel Calls the whole thing to start again

Samalan day yuwa  

Stage Management, Costume and Set team:

We came together with the technical team to see the set and costumes. It was really exciting and i think it made allot of people in the group realise how hard we have to work. I feel its really important that we saw the set from the beginning as we were are now able to improvise and create similar objects in the space and use them in our scene instinctively. 

The female lost. The costumes are ragged and peasant like to indicate the desolate nature of the show. 

The kingsmen/ Military cotume, This will be costume, Therefore to rehearse I will always wear trousers and a jacket so I can move appropriately. 

An example of the moveable rocks that we will be using in rehearsal and on stage, they will be moved to create different scenes. The tomb stone to victoria adds a time indication to the set. 

• Today we began the scene from page6, we worked on how the stage will be layed out and came up with suggestions as groups. 

Here is an example of one of the configurations that will make up the set for the Wedding scene at Prospero’s cell. 

• Once we had all done this everyone noted down the  set changes. 

Given Circumstances:

Above you can see a  list of the given circumstances that exist within the play. We took these down as they would be included in the set but furthermore will affect the choices that we make when working in the scenes.   I think it’s vital that we have been given these as we can begin to build an understanding of why our character is in the scene and how they would react in different circumstances and environments. 

Act 1 scene 2: 

• Prospero and Miranda’s first big scene, This was really interesting to watch as they were the first actors to go into the space. 
• Prospero (Tian)  has a series of monologues in this speech and in my opinion its really challenging. Both actors worked incredibly hard in the space. I believe that because both actors new there lines it made it easier for them to play their objectives physically. 

Exercise:

This is a picture of one of Prospero’s speeches that we learnt as a group. We were given the text after Tian was struggling to bring the piece alive. This was really good for me as I was able to practice using a masculine tone as I’m playing a male.  

• We were given five minutes to work on the piece on our own. This allowed me annotate objectives and begin to move with the text as I could get up and work physically with the text. 
• Individuals were then asked to perform what they had worked on.  I was picked and this really put me on the spot, I decided I didn’t care what anyone thought so I went for it. After doing it once I was directed to use a more masculine tone. This led me to discover a voice I would like to work on for my character. 
• Other interpretations highlighted sections of the text that I hadn’t paid attention to, this made me realise how the piece can be lifted from just a simple understanding. 
• Once others had gone, Prospero performed his version again but this time was far more engaging and captured the essence of the words, for example the word ‘perfidious’. This highlighted Prospero’s thought changes. To audiences this is what is really interesting 

What Did I Learn from this Lesson?

• I have learnt the importance of breaking down a speech into objectives. This is something we have been looking at since term one, but from watch Prospero’s first long monologue I have seen how vital it is to show the journey through the piece from one objective to another. 
• Moving as your character is crucial to any play. However in this lesson I realised how important it is. This is because not everyone is going to understand what your saying. Despite this, understanding can be gained by the audience through actions/ Creating a series of pictures. 
• Slow down and pick out important words. This has helped me to get to grips with learning speeches. I can say this because the words stressed in a speech that link. Create meaning and this shouldn’t be ignored or glazed over.   

April 9th 2013: Rehearsal 2 

• We did a really physical warm up which allowed me to really engage my core for the rest of the lesson. This i really important as im playing an old man. This requires allot of breath control as I’m trying hard not to strain my voice. 

Scene 4:

Before we even began blocking the scene our director made us list the effects the sun has and how humans behave in high temperatures.

• Sweat
• looking for/ creating shade
• agitation
• thirst
• squinting

Other given circumstances:

• almost drowned (water in lungs) 
• exhaustion 
• Boiling hot, dry, lost, completely desperate. 

Once we had got to terms with the given circumstances we began to block the scene. As one of my characters peccadillo's is that he is an alcoholic the scene begins with Gonzalo lying face down, washed up. The drinks flask is across the floor far away. I was directed to struggle across the floor, my objective was to get to the drinks flask. 

Tricula, Stephana and Caliban:

This scene was really good to watch in rehearsal because it showed how physicality can shape a character through simple exercises and choices. I say this because Katie and Sarah both have really good physicality on regard to there charcter already. However, as a young man, Gavin is finding it hard to walk as though his body has been completely mashed up by Prospero. Our director tied a plastic bag with a banana skin to his foot. This meant he had to use his cane to support him creating a real physicality. 

Positive things about the scene so far: 

• I think the fact that we all know our given circumstances and are able to react with them will create a believable and real scene. Furthemore these things indicate elements or the story in a physical way. 
• Tom and Pheobe (Sebastian and Fransico) have already made character choices and understand what they are saying. 

Improvements and Directors Notes:

• We need to work on creating a series of pictures in the scene. This allows the scene to be read by the audience making the narrative clearer. 
• The lost need to become more involved with our scene. This then means we must react to them instinctively. 
• Let the actions ride on the text. This will free us of the scene becoming dull. Our characterisations but become strong enough for us to be able to do so. It doesn’t matter if things are wrong at least we are learning and and being instinctual. 
• Learn lines. I knew all my lines and so did all the characters on pages 17-27 (Trincula, Stephana, Caliban) this allowed us to move in the scenes. everyone but Phoebe and I in scene 4  did not know there lines. This made it really hard to play of what they were saying because they had barely any character as there was a script in there hands. 

Improvements to make for Gonzalo:

• Work on diction and projection in ‘Beseech you’ speech. I am using an accent and a change of vocal tone. Therefore I must use the front of my mouth to make sure what I am saying is clear. 
• Revise objectives, knowing all my objectives will allow to be in the scene and use my physicality to lead me into the text. 
• Research the effects of alcoholism and drowning to create a really character. 
• Learn lines for next scene (page 27 onwards) 

April 20th: Rehearsal 3

This lesson we didn’t work with our director but just in our scene group. We went outside and ran lines and did exercises playing with the pace of our scene. we also came up with some blocking suggestions for our next rehearsal. 

Directors Notes:

• The relationships on stage need to be clearer. We must figure out the relationships our character has with ever single person on stage. this is because it will effect our characters objectives. How do you communicate power shifts/struggles?
• Always play three sides. Find new ways of working with objectives to experiment but these choices may change with the energy of the scene and after direction. 
• working with given circumstances is going well. The fact that we are in a desolate place is really being communicated and this adds the our contextulisation of the creation of Freetown. 

April 23rd: Rehearsal notes:

Body Riffing: 

We began in our warm up by learning about body riffing. For me its a really hard concept because i find it hard to relax and not care. It means you have to let your body hear the rhythm the group creates and let your body just move instinctively. If people are faking you have to call them out because the exercise is all about being honest.This for me was a really good exercise as I was able to just do whatever my body wanted to and not care. Furthermore its an exercise which encourages people to become instictual therefore i think its a really brilliant warm up. 

Costume Parade:

The costume parade was really interesting as we were able to try one our costumes and see everyone else’s. Prospero’s cape is amazing and all the costumes capture the contextulisation of our piece. I think its also lifted everyones expectations of what we are creating. 

Opening of The Tempest:

We have been working on the beginning since week one but now we have a section that is full of energy and will be a fantastic introduction to the play if a high level of energy is maintained. There is a mixture of body riffing, chanting/song and stomping. We are all being summoned by Prospero.  Our physicality should be as though we are being summoned, all our movement should be into the floor with heavy feet and bent knees. Its similar to the Ethiopian Hamer tribe. 

Here is a video of the hamer tribe dancing in order to furtilise the ground. This has shown me a low and free way of moving in the opening scene. 

Run through Notes:

• The main improvements to be made are: lines, projection, energy and proxemics. As a group we still need to work on playing three sides, some scenes need to be altered as the blocking is off. Projection must be better and people must begin to play the space by using the diaphragm to project. 
• Move around the space with energy but only for a reason. Use objectives to figure out movement in the space. This will help clarify the words being said. 

April 29th, How we feel about our piece so far:

Expectations of a Tech run:

• Its important to understand that this is the technical teams oporunity to rehearse cues and lighting changes for the performance and like we are being marked for our performance they are being marked for there efficiency. 
• all the scene changes need to be as quick as possible. This means everyone needs to know wheat they are doing, maps need to be made of the transitions and it must be as efficient as possible. 
• The tech team work on cues therefore we must be able to go into scenes straight away. Furthermore its an oportunity to work the space. We must use our breath and diaphragm to arch our voice, reflecting it of other surfaces. However it is not a rehearsal for us its for the tech team so we must cooperate and do exactly as we are told. 

Group Weaknesses:

From the discussion I gained allot of insight into other people perspectives of what needs to be worked on. this is down to the fact that everyone was very honest. Energy. Everything needs far more energy, Miranda and Prospero’s first scene needs loads of energy because its an explanation of why they are in there situation. This also applies to every single scene. Another big note was lines. Its a matter of days until the performance and lines still haven’t been learnt. To be in scene with people who have no idea what they are saying is really hard and unfair on the people who don’t have lines.  I hope this improves. We should also concentrate on letting the action ride on the words and find new, fresh discoveries every time. 

Positive attributes: 

• The atmosphere is often sustained as desired.
• everyone is very supportive which allows others to feel good about experimenting. 
• Discoveries always made from time on stage.
• strong relationship with the technical group. 
• unselfish ensemble. The lost constantly support everyone thats on stage. 

Genuine Discoveries:

• I have discovered a cynical characteristics within Gonzalo. In the space I often react in a grumpy way instinctively. This may be down to working from a stereotype but thats just the characterisation I have created. 
• Allot of relationships have formed from interpretations in the script. For example, Caliban, Trincula and Stephana have developed a very sexual relationship from what they have taken from the script and what they have created as characters. 
• Meaning is being drawn from the characters living in the space (prospero’s physicality) 

Notes that MUST be remembered from rehearsal:

• NEVER be natural. 
• Characters need to be developed, this can be done by discovery in the space but also research.
• Our piece doesn't have much of a journey therefore we must link our scenes together by filling in the gaps of our characters journey ourself. 
• The drug theme is being lost. Miranda must work on being completely out of it at points. 

April 30th, Rehearsal Notes:

Working the breath outside:

Here is an excersize we were shown by our director which is taught by ‘The Royal Shakespeare Comapany’ We are leanring it to strengthen our voices for brighton as we will be performing outside. 

1. Breathe out so that you don’t have any  air left in your lungs. Hold it until your body naturally breathes air back in. Make sure you breathe into your diaphragm.

This allows your body to instinctually engage with your body.

2. Snatch your breath in on a ‘HA HA HA’

Ensure you root the sound in your diaphragm rather than throw it completely out your chest or head voice.

Relax your neck.

Now try and say it, elongating the third ‘HAAA’

3. Lie in semi-supine and have someone hold your head in their hands – they turn it from left to right slowly in the air.

Then say ha ha ha without any tension in your neck using your stomach muscles and diaphragm. 

Rehearsal Notes:

I need to work on the strength on my voice and using an instinctual breath to not only    sustain even breath but to allow my actions to come from a reaction to something else that I feel instinctually. 

Over all the pace of the show is dull. everything needs to be done quicker with more energy. Furthermore energy needs to been combined with objectives to make the piece a lot clearer. 

We must all have a clear idea of where our characters have been and how there relationships alter with the people around them to have an understandable journey. 

We need to all loose control almost in the beginning and act as though we are being summoned. 

May 1st Rehearsal Notes:

Working in the New theatre

Its really hard to work such a big space while working on articulation and clarity. Luckily we were given the opportunity to look around the theatre and were shown all the entrances and exits. This made me feel better about working in the new theatre. 

below is a picture of the notes taken from the tech run. To summaries the run wasn’t as I had hoped, lines still were not learnt and to be honest it was really disappointing and embarrassing but I know this will not be a problem for the next rehearsal.