Temptation piece. We were asked to think about temptation, and discuss what we were thinking. This was a very suitable way to start the topic off, because it helped us to see all the different kinds of ways you can be tempted.
Temptation By Kate Graham 31st October We walked into our drama classroom and our teacher told us to sit down facing her. She then told us that we were going to have an exam, and that she would show us all the answers as long as we agreed not to tell anybody, as this would put her job in jeopardy. She then asked who would like to see the exam and everybody, including me, put their hand in the air. She then opened the folder to show blank pieces of paper, it had all been a joke! This fake exam, was used to show us how easily you can be tempted. It was an excellent way to start our discussion about temptation. We were asked to think about temptation, and discuss what we were thinking. This was a very suitable way to start the topic off, because it helped us to see all the different kinds of ways you can be tempted. Discussing this in a group situation was good too as we were able to swap and review ideas with other members of our class. We prepared for our topic by using a dilemma journey. This involves everybody closing their eyes and being told a story. Then you imagine you are in the story, and when you are tapped on the shoulder, you tell the rest of the class what you would do in such a situation. Our first story was about a car, left open with the keys in the ignition and we had to say whether we would be tempted enough to take it or not. This was a
job opportunities in performing arts
What is the work like? An arts administrator is in charge of administration for the creative industries: this may include the visual and performing arts. The job involves promoting, supporting and any managing jobs. An arts administrator's job can vary, it all depends on who they work for, for example, if they worked in a small theatre they can get involved in a big range of tasks, but if they worked within a big theatre, they will tend to have a specified area that they would work within. Responsibilities may include: * Planning a programme, securing dates and venues * Booking artists and performers * Organising accommodation and transport * Dealing with internal and external correspondence * Event management * General management * Overseeing the maintenance * Looking after visitors, this includes directors, producers and artists * Coordinating front of house * PR activities * Identifying fund raising opportunities * Advising on contracts and terms of employment * Managing a budget * Filling out grant applications * Briefing on health and safety requirements * Dealing with performing rights and other legal requirements. Hours and environment Hours can vary depending on what job you are doing, for example administrators that are working on exhibitions or performances may need to work evenings and weekends, but other may work more regular hours, part time
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
Performing arts skills
Performing arts unit one first assessment June 2010 Developing skills for Performance User 0/13/2009 Developing skills for drama The definition of actor or actress is; a person who acts in a dramatic production and who works in film, television, theatre, or radio in that capacity. Their main job is to interpret a dramatic character. Actors, like singers, musicians and dancers are performing artists and specialists in the field of entertainment. Actors may act on stage or become involved in film, television or radio productions. Since singing, dancing and the playing of instruments form part of many productions, it is to their advantage to have some knowledge of, or talent for the other performing arts. During their careers, many performers choose to specialise in a specific field of acting. Some actors find live theatre demanding and rewarding, while others prefer acting in front of a camera. Depending on the media used, different skills are required of actors. Actors involved in live theatre make greater use of exaggerated movements and voice-projection than persons acting in front of a camera do. Film actors employ more subtle body movements and facial expressions as their audiences often view them from the close-up angle of the camera. Someone involved in radio production primarily makes use of voice modulation and intonation in order to create the desired
Drama and Theatre Studies structured records
How the student role emerged and was communicated. 'Use of space' explored the broad topic of social and professional satisfaction and happiness. In order to highlight the universal implications of our piece, we decided that it was necessary to use diverse characters allowing the audience to identify with aspects of each persona's issues. Initially, we brainstormed several different problems that could affect an individual's happiness in the work place, and came up with the fundamentals for five characters. The original basis of my character came from my own anxieties towards life. During devising we were contemplating university choices and starting to arrange our lives after college. As a group we all felt anxious and many felt a lack of direction. This insecurity we felt towards leaving the secondary education system, led to the creation of Pamela (the character I played.) After discussing Pamela's initial characteristics, focusing on her feelings of anxiety and confusion we had to decide her plot. Her lack of control and direction led us to create her objective to gain a secure role in the work place to solve her anxieties. After creating the fundamentals of each character we discussed as a group their characterisation. The role of Pamela primarily emerged through a series of role-plays. Firstly, I performed as her character in different situations allowing me to
AS Theatre Studies Portfolio
AS Theatre Studies Portfolio Dramatic Aims and Objectives The dramatic aim of our piece is to present the audience with a modern interpretation of the Lord's Prayer', whilst exploring the effects of pressure in our lives, and giving the overall effect of a highly original compelling piece of theatre. The performance has a Brechtian style, as this is a demonstrative acting method that enables us as actors to present the character from a number of perspectives, naturalistic and abstract, giving the theme a rich and diverse impact; similar to the variety of impacts pressure has on the members of the group. We wish to produce a piece of political theatre, in the loose sense of the term 'theatre with attitude' and we use the attitudes of the characters to convey this. Through the process of trying to produce a highly original theatre our piece has evolved into a movement and music style in order to make strange and cast new light which is Brechtian, better enabling us to communicate our modern interpretation of the Lord's Prayer. Inspiration Set Texts Our initial source of inspiration was Shakespeare's 'A Midsummer Night's Dream' as this is a set text that we study as part of our AS and we also put it on as a sixth form production in February of this year. We analysed the plat in the hope of extracting an idea that relate to the society we know. The lover's temptation to run
Drama - Response Phase to the unit on war.
Drama Coursework Response Phase The first GCSE drama exam that I have partaken in, is the unit on war. It consisted of 7 1 hour lessons. We covered three wars, each war concentrating on a family and how they were affected by the wars: * The First World War * The conflict between Serbia and Bosnia * The Second World War (Holocaust) We looked at a family of five, a son going off to war, a mother, a daughter, a younger son and a father. Our first task was to create a frozen image depicting the moment when the son leaves his family to go to war. In my frozen image, the son was walking off not looking back, proud to be off to war. The mother was extremely upset, and had her head bowed as she cried, the daughter was consoling her mother. The father was standing proud saluting his son, true patriotism. And the youngest son was sitting on the floor reading one of the war posters that were around. Suggestions for captions to go with this frozen image included: * 'Proud family support son into battle.' * 'Torn between country and family.' * 'Best British can produce.' I then wrote a newspaper report to accompany the frozen image, as if it were a photo in a newspaper: 'Brave soldier Martin, marches off to war to make his family proud. As we witness mixed emotions throughout this family - we can see that this is a true patriotic family. From the father, living his dream
Drama and Theatre studies - practical- coursework
AS Drama and Theatre studies Devised Work Marwa (Mia) Radwan Contents: Section 1 - Inspiration and Influence Section 2 - Research Section 3 - Health and safety Section 4 - Development of the play and my role Section 5 - Final evaluation Inspiration and Influence In my AS theatre studies course we have studied, Antigone a Greek tragedy by Sophocles and, Yerma by Federico Garcia Lorca which is a Spanish play based in the countryside of Andalusia. Both plays have their main characters female and both surround around the "injustice" they have been through the main reason being men and the patriarchy society they're in. So from both the plays we've studied we get a feeling of a "battle between the sexes" they both create the idea of women "fighting back". This was our group's first inspiration for our devised piece we decided to base our play around the treatment of women and the unity of women coming together to fight against men, because of the unfairness towards women. This idea of all women against their men gave me the idea of a scene from the production of Chicago the musical, where all these women are together in jail for having killed their husbands/boyfriends in a variety of ways and they all sing of how "He had it coming", making it the men's fault. I thought this idea of fighting back but then justifying it because these men are "cruel" and so deserve
The conflict and contrast between the utopian ideals and Elizabethan politics presented in Shakespeare
The conflict and contrast between the utopian ideals and Elizabethan politics presented in Shakespeare's "The Tempest" The play opens with a description of a terrifying and relentless storm that wrecks the ship belonging to the King of Naples, Alonso. The wreck drifts onto the shore of Propero's island but the force of the sea is insuperable, and the boatswain appeals to the noblemen, crying out that they are hindering the others. He calls to Gonzalo, If you can command these elements to silence, and work the peace of the present, we will not hand a rope more. Antonio and Sebastian are also rebuked by the boatswain, and reminded of the inefficacy of their social status is nothing in such a critical situation, invoking their wrath, while simultaneously hinting at the bias of the play. We suspect the boatswain will be proven right, and that Shakespeare gently asks us to heed the rude wisdom of the common pragmatists, even - or especially- the context of ostensibly decadent theatricality. Hence from the start we are presented with an intriguing balance of high romantic drama, opinionated political commentary, and fragile idealism. The shipwreck symbolises considerably more than what it appears to at first. It is no mere vehicle for the themes of the play to hitch a lift on, it is representative of an entire society's collapse into irretrievable disarray. Indeed, it may be
Stage lighting - A guide.
Stage Lighting: A guide The fully updated, Definitive guide to all aspects of stage lighting for GCSE Drama Introduction The theatre is the oldest form of drama known. Dating back to the ancient Greeks, it still manages to enthral millions of people to this day with its distinctive dramatic style. Despite the advent of film and television, the theatre is still a unique place. Instead of watching endlessly rehearsed, digitally enhanced pictures flash past on a screen, the theatre offers a clear, unadulterated view of acting relying on the actor's skill and initiative rather than just a string of computer generated sequences. This is not to say that film is worse than theatre; rather that the two are different to one another, offering different things to an audience. However, The theatre has one very clear disadvantage over film. Where we can sit through films like the Lord of the Rings and marvel at the splendour of the Shire and tremble at the unforgiving, evil Sauron the same effect is much more difficult to achieve on stage. Of course the actors ability to portray the character correctly is important, and goes some way to transporting the audience from their seats into the story, but this is often not quite enough. Somehow you never forget you are sitting in a draughty church hall with large florescent lights glaring at you! The solution to this problem is to stimulate