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
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
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
Explain how group work contributed to the final performance
Name: Michael Sims Candidate Number: 8178 Centre Number: 56515 Explain how group work contributed to the final performance When we first began working as a collective none of us were very sure about how to proceed; we knew that for this to work, everyone would need to take their role within the group, but the problem was in finding what those roles should be. As we were in a very small group, everyone's full input was needed throughout the process as we realised early on that if this did not happen then there would be a large proportion of the group not taking part. In larger groups, having someone not taking part would not necessarily be that important, however, with ours, we would be at a serious disadvantage. Luckily every one of group was very committed to producing the best piece that we could, and this involved not letting each other down. This work ethic allowed us to have many in-depth discussions into the possible interpretations and meanings of our work, and so we developed a very complex understanding of what we were actually trying to communicate, and, to us, gave the work much greater meaning. In the beginning stages, we all took on very similar working roles. This was not very productive as often the same task was performed three times over. For example, all doing research on the same subject meant that a lot of information was being regurgitated, and so
Evidence that formal selection of groups and formal selection of leaders can enhance group performance.
Evidence that formal selection of groups and formal selection of leaders can enhance group performance Organisational psychologists have been interested in seeing whether random selection of leaders or the usual systematic selection of leaders leads to greater task performance and greater group cohesiveness (also known as group maintenance). Finding significant results here would be beneficial in the workplace if the problem of random selection vs. formal selection is solved as it would help increase group harmony and productivity. The findings of previous research have been varied. In a study very similar in method and aims to this present study found that the random selection of leaders leads to greater task performance. ( Haslam, S.A., McGarty, C., Brown, P.M., Eggins, R.A., Morrison, B.E., & Reynolds, K.J. (1998). Three experiments were done in this study using the same survival task used in this present study. The first two experiments measured task performance and group maintenance by manipulating the process of leadership selection (random, informal and formal). The third experiment confirmed that society holds the view that formal selection is better than random selection of leaders, hence explaining the reduced group maintenance in groups with randomly selected leaders since they perceived the process of leadership selection to be less legitimate. This third
Is ameriaca misogynist soceity
American theatre, Jesse Schwenk Cheryl Jackson 04022300 Is America a misogynist society? Give reference to 2 plays When deconstructing text and trying to come up with a black and white answer about whether America is a misogynist society is something of a challenge due to the fact that contradictions are always going to appear. I believe that it is a matter of opinion and it is down to the interpretation of the reader whether or not America is in fact a misogynist society. However, exploring Arthur Millers, The Crucible, which is a play based on the Salem witch hunts in 1692 but is a reflection of McCarthyism which concerned Miller at the time he wrote the play in 1953 and also Tennessee Williams' A Streetcar Named Desire, I hope to find an answer in which I can argue to another fully, although in another opinion somebody else may disagree. An important part of my research is also going to include women's rights in America's society today and also in history. It is known that women have had fewer priorities than men, for example voting rights, throughout the 19th century this has changed and women now have a lot of the same rights as men. Women have always been regarded as homemakers and men as the breadwinners. It has also been the men that have predominantly been in power in politics. Dorothy McBride Stetson writes, 'Women have had equal voting rights for
GCSE Drama: The development phase
GCSE Drama Paper 1 Unit 2 Task 1- Response Phase Our group started working on 'Table Manners', one of a trio of plays in 'The Norman Conquests', written by Alan Ayckbourn. We used the following explorative strategies; Role-Play, Hot-Seating, Thought-Tracking and Still Image, to further enhance our understanding and appreciation of the characters in the play. Still Image: For this explorative strategy, we were split into two groups, and we were to portray all six characters, as if they were in a waxwork museum. We exaggerated features of our character, to make it easier for the other group to identify our characters. As individuals, we focused on our body language, facial expression, but as a group we tried using our proximity to show the character's personality and attributes. We showed this, by depicting Norman as being the 'gigolo' he says he is in the play, and by having his arm around Annie, looking extremely confident, but still longing for Ruth, as he was still looking at her in admiration. Meanwhile Tom was expressed by him just looking at Annie from a distance, showing his inability to put his emotions to words or actions. I posed as Reg, while another member of my group was Sarah; she tried 'perfecting' my appearance, keeping in line with her character's opinionated views, by fiddling with my shirt. At first, I put up a facial impression to show how annoyed I
Written concept of a personal performance of Mrs Iger, from Jim Cartwright's "Two".
Written Concept In my drama monologue, I am playing Mrs Iger from the Jim Cartwright play, Two. This is a naturalistic play set in the 1980s, in a northern pub, with the intention that all the characters can be played by just two actors. In Two, I see Mrs Iger as resentful towards her husband, Mr Iger, for being small, timid and quiet, as this is what prevents him from simple activities such as buying drinks and having an argument. For this, I interpret Mrs Iger as being a very confident woman, who overshadows her husband immensely in confidence and loudness, but as her monologue consists mainly of how much she wants "big men", I believe she wants a very masculine, domineering man, and Mr Iger does not fulfil these wishes. This makes her resentful towards Mr Iger, and so she imagines, in detail, the extent of a man completely the opposite of him - big, quiet, strong and brave. However, the fact that she does not have a "big man" suggests that it is something of a forbidden fantasy for her, which she does not fulfil but longs for. Therefore, I see her as very confident, which I will illustrate through her poise and posture - by making her sit up straight, with her legs crossed, and on moments when she asks questions (E.g. "And you can really dig deep into 'em, can't you?), leaning forward and looking directly at a female in the audience, as if letting them in on a secret.