• Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month
Page
  1. 1
    1
  2. 2
    2
  3. 3
    3
  4. 4
    4
  5. 5
    5
  6. 6
    6
  7. 7
    7
  8. 8
    8
  9. 9
    9
  10. 10
    10
  11. 11
    11

theatre Studies portfolio

Extracts from this document...

Introduction

AS Theatre Studies Portfolio Devised Drama UN- seen No of words: 3984 AS Theatre Studies Portfolio Aims Our aim is to produce a realistic piece of drama which is amusing through its truthful observation. Our production should lead the audience to believe that we are young people looking for love on the internet, who for many different reasons cannot face real life and real relationships. Thus, in watching this piece of drama the audience should question themselves why we are sometimes afraid of other people. They should also relate to their own lives and be amused by the accuracy with which we perform; they should recognise elements of themselves in our characters. In order for this to work we need to include the audience in our journey as much as ourselves. They need to feel sorry for Sophie, who cannot take her life in her own hands and by the end of the piece feel relieved that at last she finds someone. To produce humour we create increasingly confused situations which should be believable. What we also would like to show is the contrast between the characters (two opposite female characters: shy and self- confident). All of these things would mean that the audience engages with the piece and think about themselves, which will make the performance both entertaining and educative. Research In research for this play, there were many things which I needed to consider. In relating back to my aims, I gave myself strong guidelines on what to research. Firstly, in order to gain amusement from the audience through view of themselves in the characters I needed to portray my part as shy, neurotic young woman looking for love in the internet as realistically as possible. To help I logged on as my character to a "dating service". I was trying to answer every message I received staying in my character and I observed how different people reacted on conversation with Sophie. ...read more.

Middle

We decided to use this fact in our play and my character is foreign as well. However I had to improve the clarity of my English pronunciation. A voice- exercise which I found really useful was repeating my lines with the tongue outside of my mouth, or with a cap between my teeth trying to sound as clear as possible. I realized that after this exercises I can control my voice better because I put more pressure on voice-clarity. I think the difference can be heard. The physicality of my drama in many ways has improved. Playing the part of Sophie will prove very demanding in that she is a very quiet character in vocal and physical areas, so a careful approach to her is needed here. The use of naturalistic physical expression is a key here and in the use of Stanislavski techniques I have made this area of my performance tighter. As Sophie is a very shy, reserved character, I would like to develop a more acute sense of body language on stage. In doing this I will show the audience Sophie's emotions through movements instead of speech. Scenes which required more movements than words are above all "in front of computer" scenes and the "caf� scene". In the internet scenes Sophie is scared and surprised by people bombarding her. On the dating web-site she is not less shy than in real life. As Sophie I will sit with uncrossed legs, toes pointing inside, playing nervously with my hands, touching hair and knees. In the "caf� scene" Sophie sits in the background and does not say anything. My movement will be in many ways similar to this from the previous scenes, however when Sophie realizes her worries are coming true- her date did not turn up- I want to look really sad, with tears in my eyes and nervously- touching my face and hair. ...read more.

Conclusion

During the set build we were always sure that everyone knew exactly what to do and has his own job, to prevent crowding (dangerous when moving heavy objects). Lights had been carefully fixed to bars and checked maximum 20 kg per metre along with being attached by a clamp or chain. During working with a ladder there was always another person helping with balance by holding the ladder. In case of the fire we minimise the audience number (to prevent overcrowding) and made sure that fire exits were clearly marked and easily accessed. We didn't forget about warming-up before each rehearsal to keep ourselves away from any injury. Evaluation In terms of the audience, I felt that our play had a good effect on them. They laughed at all the intended moments in the play and seemed interested and intrigued throughout. The beginning of the play with internet conversation between Kiki and her boss with a spot-light grabbed the audience attention immediately. We managed to keep the play going on slickly and therefore not causing the audience to lose concentration. However there were a few flimsy areas in the production. In the "first log-on" scene, when we were changing characters to show how many different and strange people we can meet on dating web-sites, I felt that we should do more work on that in order to make it quicker and more remarkable. However I do feel that the elements of people's fear, confusion made by internet relations and resolution in real life were shown very clearly. In working in this project I have learnt that in devised drama, open minds and strong commitment are the most important areas. Open minds because a willingness to try things out means that all ideas are discussed and therefore the result is more meticulous finished product. Strong commitment means that everyone is going in the same direction, therefore with more eager hands in the production, the weight and pressure is not left on one person. Keen and open minds are the most effective in any type of theatre. ...read more.

The above preview is unformatted text

This student written piece of work is one of many that can be found in our AS and A Level Theatre Studies section.

Found what you're looking for?

  • Start learning 29% faster today
  • 150,000+ documents available
  • Just £6.99 a month

Not the one? Search for your essay title...
  • Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

See related essaysSee related essays

Related AS and A Level Theatre Studies essays

  1. Free essay

    Drama Reflection. Evaluation of the development and improvement of my skills including examples of ...

    The production could be improved by organizing the team work, as well communication better with others and voicing out opinions.

  2. Two by Jim Cartwright Notes

    because no-one really pays attention to them but they just get along with each other, the "Two" of them. Landlord yet again moves the play on to the end of the night. Also speaking to the audience re-engaging them in the play again.

  1. Vinegar Tom - Plot and Subplot

    Packer and Goody pull up Susan's skirt so they can test if she is a witch. Goody then gives the audience information about Packer. * Scene 16 is set in Ellen's cottage. Betty explains that she is scared to go there as she doesn't want to be accused of being a witch.

  2. Tension Portfolio - the seven levels of tension.

    Idriss starts of at level 3 which is economic. Five seconds later he realises what is happening so he steps up a level to alert. He stays at level for 10 more seconds then steps up to a more tense level suspense. I start at level 5 which is suspense.

  1. Stage lighting - A guide.

    When the actors stand underneath it, they will be lit directly from above, giving interesting shadows on the actors. Here is a diagram of how to create different hues using the three primary colours on three lanterns: How to plan the lighting The first thing that needs to be done

  2. How would you direct the confrontation between Creon and Haemon in order to achieve ...

    This is again showing he accepts inferiority, but also makes clear to the audience that he is against his fathers actions. The metaphors regarding the failure of stubborn things would be spoken with a degree of accusation regarding Creon; Haemon would look at Creon when saying 'inflexible' and 'refuses' to indicate that there refer to Creon.

  1. Sports Development

    Using the considerable draw and appeal of Earthquake festival they can bring dance to society by giving a unique insight into dance and the doors that can be opened by it. "This expansion of earthquake around northern Ireland underlines the policy of Dance NI to take the message of movement to as wide an audience as possible".

  2. Greek Theatre Research and our Masked Perfomance

    Since the masks could be seen even in the last rows, the audience could tell how the character was feeling. Thespis was the first writer to use a mask. Usually the masks were made of linen, wood, or leather. A marble or stone face was used as a mould for the mask.

  • Over 160,000 pieces
    of student written work
  • Annotated by
    experienced teachers
  • Ideas and feedback to
    improve your own work