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Theatre Portfolio

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Introduction

At Home with The Brights AS Theatre Studies Devised Piece Portfolio Stephanie Gadsby AS Theatre Studies Portfolio Aims The aim of this devised piece is not only to entertain our audience but also give them a little insight to 1800's Victorian life in the way of showing, how middle to upper class people may have felt quite repressed in showing their true emotions sometimes, under their fear of losing face value in front of others. Most importantly, we want the audience to be able to relate to the Victorian personas in the performance and for them to see that similar issues and situations are still present in today's society. For example; the pressure from a parent to a child or budding love between two people, both key issues between the characters in our piece and are both evident around the dining table scene. At the end of the performance I want the audience to leave, both having been entertained and to also question their own values against the characters, thinking about other people's perspectives, treatment of other people and self representation. In order for this to occur, they would have to feel each individual character's different emotions throughout the piece; The annoyance on Nathaniel and Sophia's part at Mrs Bright's interruptions of a tender moment, The hurt of Mrs Bright overhearing her daughter Emily talking of her, Emily's guilt having hurt her mother and the defensive manner Mrs Bright takes with Sophia creating constant tension between the two. If the audience can experience the same emotions as the characters, they will have engaged with the piece and will have been able to relate themselves to it as well as absorbing the "story" of the piece. This in turn, will prevent the piece from being just a meaningless piece of entertainment. Inspirations The inspirations for this piece have come from a letter that was actually written by Sophia Peabody to her father, in 1853, about her and Nathaniel Hawthorne's visit to the Brights at their home Sandheys, in West Derby, Liverpool. ...read more.

Middle

6. History: Throughout "A Midsummer Night's Dream" there are references made to Greek mythology and throughout our own piece, there is historical content such as crimes of the age, Transcendentalism, make up and attire of women of the period all of which are subjects of conversation around the dinner table. Research The research I have collected and that we have accumulated as a group has put emphasis on our original aims. We wanted the piece to be seen as realistic as possible and as we gathered more and more research, we realised that we wanted the audience to be transported into the world on stage indefinitely so our research had to be thorough so we knew exactly what we wanted to portray and how we wanted to do it, there couldn't be any room for slip ups where only our vague ideas will get us through because if this were the case, the element of realism would be dented in sections and therefore could be seen as disjointed going against the "units and objectives" method. We researched all of the things we could think of that might give us more of an idea how to perform from cutlery, interior, hairstyles, attire, make up, jewellery and hair accessories, transport around the time, theories and inventions of the time, opium dens, crime and literature. All this research reinforced our target to portray realism and we wanted to incorporate the majority of it to give the audience the sense that we know exactly what we are talking about. However, we realised that if facts were just put in throughout the play, it would come across that they were just thrown in anywhere, and that would dent the realism of the piece also. We decided to eliminate some of them and only use the topics we think the characters would either be interested about or concerned with. We also decided that these topics would only feature around the dinner table as subjects of conversation for the characters, but after that scene the characters would move on and become engaged with their own events of the evening. ...read more.

Conclusion

Health & Safety We kept our rehearsal space fairly tidy so as to limit the number of risks to health and dangerous objects that could affect our safety. We made certain that we were always either supervised or a teacher knew exactly where we were. Within the group, we always made sure there was at least one mobile in case of the need for emergency calls. We noted all fire exits and assembly points to go to. On the set we used fire proof paint and made sure that at no pint, there was any obstruction to any fire exit. The physical side to the performance meant we had to be aware of any potential body injuries, especially strains and pulled muscles. By warming up before rehearsals, we ensured there would be no risk of pulled muscles through jerking or straining them too hard. Progress through Pictures This is the necklace that is to be worn by Sophia, a gift from Nathaniel. Admiration from Emily, but disregard from Mrs Bright These are the two hair pieces that are to be worn by Mrs Bright, Emily or Sophia, and the ribbon for Nathaniel's hair. Discussion of ideas taking place between group members. An awkward moment at the table when Mrs Bright has excused herself after overhearing Emily's declaration of hate for her mother. Emily and Sophia talking fondly of travel. Appendix 1. The letter written by Sophia to her father 2. Victorian England (drugs) 3. "The Scarlet letter" plot summary 4. Info on Sophia Peabody 5. Transcendentalism 6. Synopsis of "Twice Told Tales" 7. Romanticism 8. Info on "My Last Duchess" by Robert Browning 9. Crime in the 1800's 10. info on Rudyard Kipling 11. Nathanial Hawthorne info 12. Events of 1850's 13. Victorian Hunting 14. Victorian Beauty and make-up 15. Pictures 16. Script draft 17. Staging ideas 18. Set design 19. Victorian hairstyles 20. Character Development Stephanie Gadsby Theatre Studies 1 ...read more.

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