"Curious Incident of a Dog in the Nighttime" Essay on Impressive and Spectacular Movements in a Professional Performance.
DATE \@ "dddd, d MMMM y" Thursday, 20 November 2014 Drama Q: Explain how two or more performers used impressive or surprising movements in one live production that you have seen and assess their contribution to the effectiveness of the peace at particular moments INTRO - SUM UP PLAY AND POINTS PARA - STATION 2PARA - HOW IT WAS DELIVERED? 3PARA - WHY THEY DID IT AND WHAT WAS THE EFFECT 4PARA - CHRISTOPHER IN THE TUBE ATTEMPTING TO GET TOBY 5PARA - HOW WAS IT DELIVERED? 6PARA - WHY THEY DID IT CONC. - SUM UP ALL POINTS ABOVE I On the 15th of October, 2014 I went with my school to see “The Curious Incident of the Dog in the Nighttime” at the Gelguid Theatre. The play was directed by Marianne Elliot and the designer was Bunny Christie. 15 year old Christopher (Actor is Graham Butler) is a suspect for the murder of his next neighbours dog Wellington. He decides to solve the mystery of who killed it despite his fathers wishes. However this takes him on a frightening journey that tears apart his conception of his once familiar world. In the scene of the train station in Swindon, Christopher has just left his house to get away from his father after discovering that Ed had just killed Wellington. The main reason that he wants to get away is the fact that he also wants to reunite with his mother. As he has “behavioural problems” who has problems with physical
The Devising Process
Structured Record - Section 1: 'How did your role emerge and how was it communicated?' Upon casting for our piece, I made the decision that I should play a character set in the Tudor period as apposed to a modern day character. This decision was made as I felt it would be a challenge. I also made the conscious decision that I would focus on the research behind a character, aiming to create sensitivity and realism to the role. I was cast as 'Isobelle' - a 14 year old Elizabethan child, living with her widowed Father who abused her and in receipt of this, sleeps and begs on the streets. The group felt that 'Isobelle' should be played with innocence, desperateness, sentiment and grit, and therefore I, as the youngest looking actor, with ability to present sorrow and fear, would play 'Isobelle'. As a play with many characters, it was necessary for the group to multi-role. Although this resulted in an inability to dedicate solely to one character, multi-role allowed us to take on and develop several different characters. Other characters I was cast as were 'script reader' in the Elizabethan Theatre, a maid to 'Queen Elizabeth' and a young child in the modern classroom. The role as 'script reader' emerged as the group felt another character should accompany 'Burbage's' rehearsal as he disrupts 'Shakespeare'. The character; in her 30's, a budding writer, stubborn and
The Woman in Black
The Woman in Black The venue for the woman in black was the fortune theatre in London only 100 yrds from Covent Garden. The Theatre from outside appears small old and slightly decrepit, inside there was no attempt to prepare one for or indeed set the atmosphere for the nature of the play in question. The Fortune is notoriously small and the intimacy between actor and audience was brought out well by the fact that the furthest seats can only have been 15m away. The theatre is of Victorian style with ornate decorations and red carpets and seating, this instantly transport one to the era in which the play is set in the 19th century. The stage is open for the audience to see before the play starts and is set out as the stage in a small theatre, a basket for props, two chairs, a rack of costumes and buckets catching water from a leaky roof. The most important part of the set though was the gauze at the back of the stage separating a separate scene behind and revealing it hen needed using lighting. This combination of props an structure conveys the location strongly to the audience without being so defined that it is not possible to change the scene. The time we waited before the play actually started was around 15 and contrary to usual procedure for plays there was no kind of background music which gave a slightly eerie edge to the wait. The play started in the theatre depicted