Evaluation of preparation and improvisation based on a section from ‘Confusion’ by Alan Ayckbourne.
Evaluation of preparation and improvisation based on a section from 'Confusion' by Alan Ayckbourne. Preparation work on confusions We did quite a lot of preparation to help us with the different plays in 'Confusion'. We got given some scripts and we had to act them out in pairs but each one was acted out in a different way even though they were the same scripts. It was quite effective as everybody presented theirs differently. We had to write a script in pairs then another couple would act it out. This was good as we got used to script reading. We also acted out a normal scenario but it had a twist in it. We also done a scene in an office where we were just acting normally in an adult behaviour about a disagreement, but it gradually changed to children arguing. All this work helped to understand the issues of the play, as there was a twist in it and it all related to it. Work on characterisation After we got into groups and read a story from the book we took it in turns to go in the hot seat and be asked many questions about our character. These questions could be about anything like their past, their present or what happened at the restaurant. This worked very well as we all got into character and we could understand the character more. We got to establish other characters as well as our own. Improvised work on naturalism Improvised work on naturalism and
How things have changed in R&R
950/60's Dance Critical Analysis Introduction The term Rock-and-Roll was first used in 1951 by Alan Freed, a Cleveland disc jockey. The use of rock and roll is traditional in blues, a form of popular music that grew in the 1950's from rhythm and blues, recognized by the use of electric guitars, a strong rhythm with an accent on the offbeat and youth-oriented lyrics. Rock and Roll is a form of popular music arising from and including a variety of musical styles, especially rhythm and blues, country music, and gospel. It was recognized in the United States in the 1950s and was very popular with teenagers. Everyone thinks that rock and rock was a new type of music in the 1950's but it was recognized by the Africans much earlier. The African slaves brought it over to America and it grew in popularity from there. Another influence to rock and roll was the dance the Charleston and the Lindy Hop which is believed to have been created by the African Americans in the 1920's. The girls who did the Charleston were known as Flapper as they used to flap their hands around when dancing. How things changed when rock and roll came In the last year of Elvis's life in 1977 over 80,000 fans turned up in Chicago to see him perform, a fair amount of them being teenagers. The way he produced his music and the songs and dances inspired not millions but trillions of teenagers. His music was
Drama Portfolio ~ Fear.
Drama Portfolio ~ Fear ~ Hanaa Anwar ~ Ms.Routledge ~ 10.2 ~ 11G RESPONSE In workshop one there was two forms of drama; straight improvisation and teacher in-role. This was structured by having the class in a semi circle and the teacher walking in straight in-role as the manager of the youth hostel. The teacher said in-role that we were 'experienced therapists' this automatically made clear on the role we were to play so we were quick to think as the form was straight improvisation. Structuring the drama as a semi circle of chairs gave the impression it was a meeting of some sort. The opening of the circle where the manager sat showed the meeting was being lead by a person of higher status. In the second half of the workshop the class was working in pairs, the form was still straight improvisation. We were carrying on from being therapists in this youth hostel but one of the pairs was now the girl we were treating with therapy. This is where our stimulus came in to use. Our stimuli was a picture of a girl screaming, holding her head in pain, surrounded by a lake with two people walking away. This was drawn by the girl who was in therapy. The aim of the drama was to try and get as much information out of the girl about why she had drawn this picture, what it represented and find out who she was, using therapy, as she didn't talk. The stimulus helped us with the form because
Explaining the philosophical base of the social sciences.
Philosophy Outcome 3: Explaining the philosophical base of the social sciences Gregor Leishman: Class 1X The debate between freewill and determinism has long been discussed in the circles of philosophy but, the freewill and determinism debate has not been exclusively held by philosophers, but has been debated in many of the social sciences. In the context of philosophy though, the term determinism is usually used for the accounts of our human choices and actions that make them into effects of causal sequences. These sequences are of such a kind as to raise the question about the freedom of choices and actions we make. The theory of determinism is that all events are caused, or determined by antecedent conditions. So if the antecedent condition has not occurred then the event would not have occurred. In this it is saying that nothing happens by chance. Freewill in the context of philosophy can be explained as the power a person has to detach themselves from inner motivation and then choosing from several alternatives. This means that freewill itself can contain decisions that are both controlled by the person and not totally controlled by antecedent factors. Although there may be antecedent factors the person has the ability to step back from any psychological factors, such as desire or an emotion. Even with desires and emotions, the person is free to decide to do
Scene 10, The Open Ground
Scene 10, "The Open Ground" From: "In the distance, Audrey and Angela are approaching, pushing the squeaky pram" To: "Raymond stands on his head" Discuss, in detail, how you would play either Audrey or Raymond in the selected scene. You will need to refer to voice, movement, gesture and facial expression as well as how your chosen character responds to others on the stage. Blue Remembered Hills by Dennis Potter is a play set during WWII. It is based in the Forest of Dean in the West Country. It follows a group of seven-year-old children as they play together on a hot summer's day in 1942. In this essay, I am going to discuss how I could play the character Raymond in Scene 10, "The Open Ground". It would be hard for me to play a character a lot younger than myself so to help me I would work on developing my speech, facial expression, movement, gestures, and how I would respond to other characters onstage. In this selected part of the scene, we first see Raymond trying to tease Willie with the line, 'Her's p-pup-pretty, is her, Willie?', after Willie shyly said, 'Angela's all right'. The group are clearly looking for something to do, discussing which games to play. Raymond is later challenged to see how long he can last standing on his head, being dared by the others (believing that he will not do it, although John and Audrey start reasoning with Peter),
The task assigned was to write a play based upon any themes that occurred in the GCSE text we had been studying e.g: Dysfunctional relationships, broken families or a play following a structural pattern like 'walking with shadows'.
Devised Practical Evaluation For 'The Network' by James Jawad For my Devised project I chose to work with fellow classmates Abby Hammond, Zoë Gilvear and Stephanie Cox, also my group had lights specialist Peter Jenkins. The task assigned was to write a play based upon any themes that occurred in the GCSE text we had been studying e.g: Dysfunctional relationships, broken families or a play following a structural pattern like 'walking with shadows'. The original idea our group had was to follow a similar structure to 'walking with shadows ' with flashbacks and non-naturalistic characters but this idea was ruled out as it would be very difficult to execute a play of that style with four characters without the play lasting an hour. After much deliberation we decided that we would link the ideas of dysfunctional relationships and broken families. This would fit nicely into a twenty minute play and enable our group to mould around an idea for a sustained period of time before our performance. Now that we had decided on a theme, we had to decide on an appropriate storyline, this was awkward but with most of the options being difficult for one boy to blend into we had to dig deep for a reasonable idea. Then I stumbled on the perfect storyline in the local newspaper it was an article on two young girls who created a suicide pact and only one died. This had one stumbling block that I
Character Exercises of Blood Brothers
Character Exercises At the start of the exam, we were given a large piece of sugar paper with characters names written on them. We were then asked to write down some personality traits of the character in front of us, and then move it around the circle so we all ended up with a different character in front of us. After a few times of repeating this, we were asked to then write down some things about their appearance. It was interesting to see what the stereotypes given to certain characters. For example, because Mickey is part of the lower class, we assume that he is dirty and scruffy, but we also stereotype Mr. Lyons as being very neat and clean because he is of the upper middle class. Mickey Mickey is the son that Mrs. Johnstone kept. He is quite scruffy and attends a public school. He is quite unsuccessful in the things that he tries to succeed in, but finally his dreams come true when he finally marries Linda. He has a common Liverpool accent and where he is part of the lower class, finally turns to crime to support his family. Eddie Eddie is the twin that Mrs. Johnstone gave away to Mrs. Lyons. He is very neat and proper, but finds all the naughty things that Mickey does very exciting. He attends private school and does not have a Liverpool accent. He does not know that Mickey is his real brother. Mrs. Johnstone Mrs. Johnstone is mother to Sammy, Edward, and
Describe the nature, qualities and essential object of matrimonial consent according to Canon law and Canonical Doctrine. Comment on the required capacity of the parties to give a valid consent.
Canon 1057.1 of the Code of Canon Law states, "A marriage is brought by into being by the lawfully manifested consent of persons who are legally capable this consent cannot be supplied by any human power" a) Describe the nature, qualities and essential object of matrimonial consent according to Canon law and Canonical Doctrine b) Comment on the required capacity of the parties to give a valid consent. Canon 1057.2 defines what matrimonial consent is, an act of will by which a man and a woman by an irrevocable covenant mutually give and accept one another for the purpose of establishing a marriage. Natural capacity, capacitas, is the capacity of the parties to posit a human act. So the consent must be from both parties and it must be an act of will. Consent cannot be feigned. It has to be deliberate and free, a deliberate act, which is a result of a series of internal acts to thought. It has to be free as well, meaning not forced upon the parties. A marriage is brought into being by the lawfully manifested consent of persons who are legally capable. This consent cannot be supplied by any human power.(Canon 1057.1) It has to be externally manifested: society needs to know. Consent must be mutual. In Gaudium et spes (par.48) one finds, "The intimate partnership of married life and love has been established by the Creator and qualified by His laws. It is rooted in the
Mrs. Brill lived her life in a faade.
E111 Mrs. Russell Mrs. Brill lived her life in a façade. Mrs. Brill appeared to be very lonely. To mask her loneliness, she often concerned herself with everyone else's affairs. She tried to make herself feel that she was better than other people. Mrs. Brill had a lot of sadness and hurt hidden inside of her. Mrs. Brill was a very lonely person. She had a lot of negative qualities to hide her many insecurities. For example she was very vain. She spoke of her "special seat" that only two other people shared with her. It was as if she were saying that she was the only person deserving enough to sit there. Most likely, she spoke like that because she was trying not to think of the fact that she was sitting there alone. She never talked about having a significant other in the story but rather at the end of the story it said that she went home to an empty "little dark room". She may have been alone because she only connected with people who acted the same way that she did. For example, Mrs. Brill spoke of a woman who dropped her flowers and when a little boy came to pick them up for her, she threw them away as if "they were poisoned". The woman showed no kind of appreciation for the courtesy that the little boy displayed. Mrs. Brill obviously connected with this woman on some level because she said that she did not know "whether to admire that or not". A normal person with
Drama final monologue. Ann (in a scary and different voice, says the words silently and slowly): theres a lot to be scared of Lucy, you didnt want to go home did you, then pay for your mistake
Why am I here? I didn't do anything. It was them. Have they sent me here? I'll make them pay. They'll pay for this. All of them. I'm alone, no wait Lucy! Ann: "Lucy let me come down, I'm going to fall off!" Lucy: "No you won't, don't be silly Ann, come on trust me you won't fall off." Ann: Lucy please I 'm scared, let me come down, I wanna go home now, it's really dark Lucy: please Ann we never have any fun, let's just stay for a little while longer then I promise we can go home, ok? Ann: no Lucy, I want to go home, you don't understand, there are things there, I can see them, I'm scared can we please go home, please lucy, I don't want to play any more. I want to go home, please, I'm scared, please. (sobbing now) Lucy (annoyed): God Ann, stop being such a baby, there's nothing there. Don't tell me you're scared of the dark now. Sheesh, what's there to be scared of, see there's nothing there, stop acting like a baby, and let's play for a little while longer. (Shadows are suddenly behind Ann, whispering to her) Ann (in a scary and different voice, says the words silently and slowly): there's a lot to be scared of Lucy, you didn't want to go home did you, then pay for your mistake Lucy (scared now): Ann what's wrong, why are you talking like this, ok, if you want to go home then let's go, I don't mind, I don't want to play anymore. We'll go home. Ok? Ann (in the same
