Notes from journal

Types of staging:

• Proscenium arch


• Thrust stage


• Promenade


• Traverse


• Arena


• Site specific


• End on

Theatrical Practice- tradition

Practice and tradition are different

Staging one element that identifies tradition from practise

R.I.

• not creative task


• Research task


• Practicable advice


• accumulating information

Stanislavsky

• wrote An Actor Prepares, Creating a Role, etc.


• Moscow Art Theatre


• Russian


• realist, naturalist, before him most acting was imitation


• before there was a master/apprentice, after there was the 'owning' of the creative process and emotional attachment to the character

Oct. 8, 2008

In groups we had to come up with a short performance and then perform in front of everyone and the other group watching had to say how the actors were feeling and what was going on

I watched Tasha and Georgia, Tasha was a daughter who was rebelling but inside she wants her mothers attention and love, while Georgia was a mother who was busy but still wants a connection with her daughter

Oct. 21, 2008

Uncle Vanya- Unlocking the Text

Facts:

• theres a house


• theres a terrace


• tea set, a samovar


• an avenue of trees


• benches and chairs


• a guitar on bench


• a hammock


• 3 o'clock, cloudy day


• Marina- old lady knitting


• Astroff walking


• Marina asks if she can pour tea


• Astroff unwillingly accepts


• he says he doesnt want any


• Marina asks if he wants vodka

Questions:

• How big is the house? where?


• How big is the poplar?


• How many are set for tea?


• What do benches and chairs look like? old? new?


• why is there a guitar? who plays it? what kind?


• a hammock between trees?


• what is the significance of the time and weather?


• who is she knitting for? what does stocking look like? how old?


• what is she wearing? how is she sitting?


• how old is he? whas is he wearing?


• what does he look like? who is he?


• who is she addressing? is he her son?


• why is he unwilling? How does he take the glass unwillingly?


• why doesnt he want any?


• why is she asking if he wants vodka?

Immediate Circumstances:

Where are Marina and Astroff coming from?

In Stnaislavsky the action is

• physical


• inner intensity


• purpose


• -meaningful

Oct. 22, 2008

Stanislavsky: Imagine the magic "If"

What if?-creative experiences, if I was in the situation, what would I do?

The given circumstances

• conditions of life of the characters


• story of the play


• facts, events, epoch, time and place of action


• actor's and regisseur's (directors) interpretation (text)


• production, sets, costumes, properties


• lighting and sound effects

=TRUTH

C. of Life- IVAN- sleeps, professor and wife disrupt daily life ASTROFF- hard worker, doctor, moustache MARINA-nanny/nurse/maid (?), old, experienced (?)

The 'Imagination' - have to imagine that what is onstage is real

Oct. 27, 2008

Auditioning

Research-Preparation

Research

• character study


• production characteristics


• -director style


• -space


• -character? ensemble?

Preparation

• what are my strengths?


• what to wear?


• what to recite?


• 1st Audition


• -call backs?


• - 1st Day of Rehearsal

Oct. 28, 2008

Space, Audience, Lights, Relaxation

• The world, "where dies it fit in?"


• -General Context, "what else is going on around me?"


• - Close interaction, "who else is involved directly?"


• - Immediate objective, "what I'm doing"


• - Solitude in Public, "me"

Units and objectives

Units of Action:

• not necessarily chronologically portrayed


• Driven by OBJECTIVES


• -change the objective


• - new unit

Objectives

• drive unit forward in a play


• verb other than noun


• "want power"- "want to power"

Super objective- throughline of Action

Oct. 30, 2008

Emotion Memory

-portray emotions, find your own, used to act like character, not "be" it

Tempo- Rythym in movement

Physical approach

Nov. 10, 2008

Uncle Vanya

Memorization: no scripts: no prompting

• clothing old


• black comedy


• all characters are truthful

Nov. 12, 2008

Set Design

Rehearsal plan-deadlines

artistic expression

• setting:


• remote (cocoon), bubble, dry, dusty, locked in time, nothing new, no change - nostalgia (fake, past-illusion)


• Set in 1980's, earlier


• audience - Tragi-comic, no caricature, nothing exaggerated


• designs 0 model box, 1:25 miniset


• January 7, materials collected and full model bow (ready to build)


• January 13 or 14, set built

Notes from journal

Research Investigation

Greek Costumes
Theatre Research Investigation
Laura Hall
Candidate Number: 000004-022
Word Count: 1,594
December 1, 2008

I am preparing the costumes for your upcoming theatrical production, Antigone, and hope what I have prepared is to your liking. As you appreciate, the costumes I will prepare for your production can add to the dramatic effect of the words spoken and the audience’s reaction to their role-playing. I understand the significance of my contribution to your play, and I promise to craft each piece, whether mask, robe or chalmy, with care and dedication. Although each plays a critical role in defining the player, their role, and their social class, I commit to dedicating the majority of my time and effort to the crafting of the principal’s masks, as these will be the centerpiece of the play.
I recognize that your play, just like those of Euripides and other Greek playwrights, has evolved from the Grecian festival to the god of wine and revelry, the revered and celebrated Dionysus. The atmosphere of celebration, drama and excess, remained in the words and spectacle surrounding the plays written, whether a tragedy or comedy, and need to be conveyed through the costumes.
The usual costumes, and the ones I will be making for your production, are typical of those that would be worn in Greek theatre. They will include long robes called “himation” and long sleeved, decorated tunics. Other robes that I propose crafting for the production will include a shorter cloak called a “chalmy”. For footwear the actors should wear thick soled laced boots, which we typically refer to as “cothurnus”. There are three types that were used, a cuffed boot which folds at the top, a loose boot that might include a tab at the top, and a laced boot which might include a tab at the top[1]. These high-heeled boots can raise the stature of the actors, add to the drama, and help make them more visible from afar.
All the costumes are going to be colorful, with different and intricate patterns sewn on. Of course Creon and other royal characters are going to have more detailed costumes than others. I think that for the chorus everyone should be wearing simple, white, robes, in order to tell who they are and keep the audience aware that they are not actually playing a specific part in the production, but are there in the background, adding a unified voice as called for. The chorus is also very important because it enables the audience to know about things that happen in the play that the characters themselves could not perform, chorus needs to have a powerful voice because not all emotions can be shown because of the masks. Their simple dress will contrast with the drama surrounding the costumes of the principal roles, as these characters are clearly recognizable in their well-crafted finery.
The shorn masks show that the character is in mourning or captivity; the shorn maidens reflect having been unhappy for a very long time, Elektra as distinguished from Antigone. Both are young and unmarried, older and married women have half-shorn masks, as explained in Greek Theatre Production, by Webster. The book also includes information about other performances as well, including Tyro and Trojan Women. The length of hair of the mask provides a way of distinguishing female characters. This is an integral part of the costume because in plays during Greek times, and in order to make your play as authentic as possible, all actors were men. It was easier to distinguish male actors form one another, but the fact that men have to play women proposes a distinct problem and challenge. The length of the hair on the masks therefore is very helpful in order to tell which female character is which.
Antigone’s costume should be a little less intricate compared to the other characters. Even though she and Ismene are sisters, Antigone’s costume should look a little more worn and like she doesn’t put a lot of effort into her appearance. She and Ismene should have the exact same himation and chalmy, but Antigone’s should be more worn out. As said before, her mask should have shorter hair, and if possible it should be cut short around her head, with no onkos. An onkos is a towering amount of hair at the top of the head, usually shown to show stature[2] and if used in this play would probably be better for the character of Eurydice, but even for her, if she did wear one, it would not be very tall and she would have shorter hair because she is a woman with sadness.
Because Creon is the ruler of Thebes, his costume should be made the best, with the most delicate stitching and best material. Because his character is more practical, however, his himation and chalmy shouldn’t be too detailed; it should be plain but nice looking with only little detailed sewing on the hems. His full costume should be of the same length as the first picture below. The details could just be different colored stripes on the hems of his costume, maybe in different thicknesses, like the second picture below. His mask should not be too detailed either, but have a high forehead to show that he is of higher status, and more solemn features, not too sad or tragic. His forehead could have worry lines and wrinkles as well, to show that he is preoccupied with what is happening and his situation in the play.

As you understand, the masks are the most important and integral part of the costume, for many reasons. To make them I think it would be best if we made them the way they were made initially, in the earliest of Greek times, in order to remind ourselves of the origin of our theatrical roots, and what a noble profession ours remains. Thespis first only used “white-lead”[3] to cover his face, and then switched to plain linen masks. Aeschylus changed costume and footwear considerably, adding color and making masks scarier. From that point on the masks evolved and eventually were made out of cork and other materials.
The masks we should make for this production should probably be made of cork or lightweight wood, then covered and detailed with pieces of leather and linen. Once the form has been finalized, I will paint them with dramatic colors, red for the lips, and for the male characters, dark bushy eyebrows and wild hair will pour from the top. To make the mask as realistic as possible, I will use human or animal hair; very similar to what was used in Greek theatre. The eyes will be large and pronounced, in vivid brown or green, with small holes where the pupil would be in order for the actors to be able to see.
A well-crafted mask is critical to the success of the play, and I ask for your dispensation to spend what is necessary to make them special and as close to the original masks that were used in Greek times as possible. The masks I am going to be making are not going to be an exact replica but they will be very similar to those made famous in the pottery and sculpture of Greek times. A stunning mask must be large and bigger-than-life, so that it is easily visible from far away in the audience. This reason is not so important today or for your production because your stage and theatre isn’t as big as the theatres that were used in Greek times, but the masks still do help the audience understand and see better.
Because of how the masks are made, they will also help your actors project their voices, so they are clearly heard from afar. The mask helped the voice of the actor resonate across the stage and into the audience. The mouthpiece is a bit bigger than if it was a normal mask, so that it allows for the actor to speak without problems. The size of the mouthpiece also helps project the voice, so that technical speakers and microphones will not need to be used. As you can see from the picture below, the mouthpiece is a little bigger than it would normally be in a mask. This is because it helps the actor be heard. Because your play is only going to have three actors in it, in order to be as similar to an actual Greek production as possible, but many more characters, the mask is the essential part of differentiating each character. Different masks will be made for each specific character, so that when an actor needs to change roles, all he really has to do is change masks. For tragic roles, I draw long sad mouths, for comedies, grinning faces that convey happiness and joy.
To conclude, I commit to not only following the traditions of Greek theatre with my costume production, but because of the detail, trim, detail to each piece – whether chalmy, mask or simple chorus robe – each will be done to perfection so that this play lasts in the memory of the audience forever. I hope that the production and the costumes will be to your liking and a sufficient representation of traditional Greek theatre. Greek theatre is something that has lasted for hundreds of years; I only hope that what I will make is enough to give credit to the importance of Greek theatre.



Bibliography:

Websites:Englert, Walter. "Greek Theatre." Ancient Greek Theatre. .
Karayannakos, Elias. "Ancient Greek Theatre." Ancient Greek Theatre. .
Journals/Articles/Books:Wiles, David. Greek Theatre Performance : An Introduction. New York: Cambridge UP, 2000.
Arnott, Peter D. Public and Performance in the Greek Theatre. New York: Routledge, 1991.Easterling, P. E., ed. The Cambridge Companion to Greek Tragedy. New York: Cambridge UP, 1997.
Webster, T. Greek Theatre Production. London: Neil and Co. LTD., 1956.
Bieber, Margarete. The History of the Greek and Roman Theater. Princeton, NJ: Princeton UP, 1961.
[1] Webster, T. Greek Theatre Production. London: Neil and Co. LTD., 1956.
[2] Webster, T. Greek Theatre Production. London: Neil and Co. LTD., 1956.
[3] Webster, T. Greek Theatre Production. London: Neil and Co. LTD., 1956.

Comparative Performance Analysis

In class we watched two productions of Uncle Vanya, one was 42nd Street, the other was done by Lawrence Olivier. The Lawrence Olivier production was an older version of the play, while the other was a more modern approach to the play. Both productions were very different and seemed to have very different approaches to the play. For some of the characters the acting was very different, but the main difference seemed to be the set and location.

The set on both productions was very simplistic, with only a slight amount of detailed props and set. In the older version, the set consisted mainly of just a large table and chairs, with a samovar resting on top of the table. The production was also produced on one stage, and seemed to have only one backdrop. In the 42nd Street version the acting went on in different parts of the building in which the play was taking place. This change of location really added to the whole feeling of the production, and even though this would be very difficult to do for an actual performance, for the purpose of the movie, it really helped when trying to set the mood for each scene. It would be hard to do this for an actual performance because in order to change rooms, the audience would have to change their location as well, therefore disrupting their train of thought and possibly ruining their experience.

For the purpose of the movie, 42nd street was very creative and successfully seemed to produce the right mood through the use of set and location of each scene. Especially in the scene at night which takes place in the bar of the building. This set and location made the movie and actions more personal and central, engaging the audience and making us feel as if we are there, right in front of the actors, watching them.

The acting in the older version seemed a lot more genuine and realistic, probably because of the old English accents that the actors had. In 42nd street the acting almost seemed more modern, even though the words and lines of the actors were not modern. The main difference in characterization in both performances was in the character of Helena. In the older version she seemed very aloof and proud, even a little bit unfocused. In 42nd street, however, she seemed a lot more flirtatious and carefree. She also seemed more childish and less serious, compared to the older version.

Marina seemed a lot more strong and energetic in 42nd Street; she also seemed to have a closer relationship with the other characters, Astroff for example, in the 42nd Street version. In the older version she acts a lot older and moves at a slower pace. She doesn’t seem as lively, although in both she still retains a certain motherly aspect, she still cares about everyone.

The character of Astroff as presented in both Olivier’s production and 42nd street is a more relaxed and almost carefree person. He laughs more than Vanya and probably even more than any the character. This might be due to the fact that he doesn’t spend most of his time at the house, he isn’t part of the family, he is only visiting in order to check on the professor. His movements are more relaxed and slow compared to the other characters. Both productions characterize him as a sort of fresh breeze, compared to the other characters, his presence makes the other characters act differently, when he is around they act better and seem almost happier.
The character of Vanya in 42nd street seems a lot more obnoxious than the character of Vanya in Olivier’s production. Probably because of the sound of his voice and more of his physical appearance, we feel a bit more frustrated by him in 42nd street. In both productions he complains a lot, and is characterized very well as someone who is frustrating the rest of the characters. He is unhappy and grumpy, and seems wound up and bothered by everything. In 42nd Street, when he is around Helena, he is a lot more physical and seems a lot more drawn in by her presence. She and he have a friendlier and closer relationship compared to the Vanya and Helena in Olivier’s production. In Olivier’s production Vanya and Helena are a lot more distanced. Vanya also looks at Helena a lot without her noticing, and seems a lot shyer about his love towards her, while Helena is more aloof and doesn’t seem to notice him as much or in such an affectionate way, the way Helena does in the 42nd Street version.

Both productions are similar in many ways concerning characterization. What differs in the productions are mainly the set and location of each scene, and although this is only one difference, it makes both productions very different. The set of each makes the productions very unique and adds a certain feel to each that helps the audience differentiate them. Although both were very good interpretations, the 42nd Street version was a lot more personal.

Action Plan for Uncle Vanya

Laura Hall
November 9, 2008

Action Plan – Set Design
Before Performance:

Day 1:
Read through play and make note on what is needed prop wise as well as set wise
Talk to Mr. Sarstedt to figure out what the general vision for the play is
Realist
When and where will it be set
Identify the context of the play, historical and social and mood
Day 2:
Finish reading through play and making notes
Finish talking to Mr. Sarstedt and Tasha to figure out the overall vision
Finish with notes and list of what is needed for the production set and prop wise
Day 3:
Draw and come up with an outline of set
Day 4:
Finish outline and drawing of set
Show and discuss with director and assistant director
Day 5:
Make any adjustments to drawing, begin measuring and outlining set
Finalize list of props
Day 6:
Begin the making of set
Day 7:
Keep working on set and begin building
Day 8:
Work on set and build
Figure out props and make sure list is done and props have been made/bought/borrowed and are very close to being ready for performance
.
.Make sure set is being built and ready about a week before actual performance, as well as all props bought
.
Day before performance:
Make sure set is ready
Make sure all props are bought and ready for performance
During each Performance:

Make sure everything is running smoothly with set and props, make sure there is nothing breaking or falling apart, and if something does seem to go wrong, make sure everything is ready to and there to fix the problem as quickly as possible.
After each Performance:

Clean up
Make sure everything is set up and ready for the beginning of the next performance
After all performances:

Clean up and begin to put away everything from the set and props, make sure everything is in order and in place, everything is cleaned up

Research Investigation Bibliography

Research Investigation on Greek Theatre Bibliography

Websites:

http://academic.reed.edu/humanities/110tech/Theater.html

http://www.greektheatre.gr/

Journals/Articles/Books:


Greek Theatre Performance, An Introduction
http://books.google.com/books?hl=en&lr=&id=BYWkzOawLyIC&oi=fnd&pg=PR6&dq=Greek+Theatre&ots=UP7X-28Wo4&sig=R9mdbce84q3tA5kVlxnrs0eIDSM#PPP1,M1

Public and Performance in the Greek Theatre
http://books.google.com/books?hl=en&lr=&id=t3MjGHFM2fAC&oi=fnd&pg=PP8&dq=Greek+Theatre&ots=Xf1Ws1f_is&sig=5aRsoqRZy3sp6JQymUrJXmPO1aM


The Cambridge Companion to Greek Tragedy
http://books.google.com/books?hl=en&lr=&id=Fy4iSjY2VTYC&oi=fnd&pg=PR9&dq=Greek+Theatre&ots=UAA7oarkjb&sig=DA_ggD3Gb3PxssleLVUVo2kj5tM#PPA3,M1

Theatre Sports 2008, Stanislavsky

Expectation for Theatre Sports:
Theatre Sports is tonight, and I am very excited and anxious. I really think this year is going to be even better than last years, despite my temporary worries about our cheer. Last year was good, but I think this year will be even better, especially since we all have more experience. It’s going to be a lot easier for all of us to get up onstage, not only because we are the oldest of everyone participating, but also because we are all more comfortable onstage compared to last year. I am not going to say we are going to win, but I think we will get a lot more valid laughs this year. After so much practice we have had in class I really think that the laughs we get will be more because of our creativity and improvisation skills than just being stupid and getting easy laughs. I also really like the new improvisation games that we have practiced with. Personally I think that I still really need to get over my self-consciousness in front of people and I realize that improvisation is not my strength. Hopefully I will be able to get over this tonight, if I even get up once I personally will be pretty proud of myself.

Reflection on Theatre Sports:
I am exceedingly proud of our group and how we did in Theatre Sports together. There were times where we were a bit shaky and could definitely have done more and been more creative, however in the end I do think we earned the golden CD player. The highlight of the night was Ragnar’s bravado at just jumping over the stage as a chameleon and how well he and Nick did and how in tune they were. The other teams were good though as well, I was especially entertained with the group from Pluto, and the Hottie Scotties. I am proud of myself but I also wish I had gone up onstage more often. I did go on a few times but one time I went up I just made a joke I had made before and the second time I went up, in freeze tag, I didn’t freeze in the right position. I am happy I at least got up onstage but I could have done a lot more. Nick and Ragnar gave the most input of our group and created the most entertainment. I am very grateful we had nick there to save us during the time in freeze tag where when we had to unfreeze none of us moved. I do think our cheer and group name was one of the most creative, mainly because it was random and unexpected while at the same time being creative.

Stanislavsky:
Stanislavsky is one of the most influential contributors to realistic American and European theatre. He was born in Russia on January 17, 1863. His "system" focused primarily on making the actor "live the part" of his or her character. He is mainly known for his influence in Realism, a realistic form of theatre.

Research Question, Theatre Sports, Sheets of Glass

THEATRE SPORTS
The Djibuotian Munchkins Bent on World Domination
I am really really happy with our group name and our overall idea that we came up with for Theatre Sports this year. I think we have progressed since last year a lot, we all seem more confident and sure of ourselves when we get up onstage or add in during improv practice. This confidence is vital for improvisation as we know from last year, when many of us were new and hasnt had a lot of practice before. We also have gottena bit better at not corpsing which definitely helps. I tihnk now that we are the oldeset in our school and that we know everyone and we all know each other pretty well, it allows us to be more comfortable and not care what we do, which is vital for being totally random but at the same time progressing the scene. I also really like that we are practicing with the IB 1’s becuase through them we can see what to do wrong or right which therefore will aid us in our own practicing. Seeing the feedbakc they get helps us know what would make the performance more acpitvating for the audience.
I really like our idea of being munchkins becuase it is pretty random and unexpected as well as kind of cute. The addition of ”world domination” also gives us a definite role and personality, while at the same time not restricting us too much. I also really like having the addition of ”bent” in our name beacuse it adds an extra twist that might help get a few laughs. The whole name was welll thought out, the only issues and concerns I have are with our cheer. I’m not sure we have planned that out well enough, Im not really sure what we are doing. This can easily be fixed though so I am not worrying to much about it. Even though Theatre Sports is in les than a week. I am really excited for theatre sports, however, and think that even if we dont win our group is definitely going to have a lot of fun diong it.

REFLECTION/GLASS PERFORMANCE
After practicing for it a bit and adding new things to the entire productiona dn presentation I have become more and more excited about this project. The sound effects, especially the whispering added into the eerie piano music creates a mysterious, spooky effect that really adds to the overall feel and theme of our little production. My favorite part of the production is when Maria is lifter by Tasha and me onto the glass that is being held up by Nick. It adds surrealistic aspect to the play that we haven’t introduced before, and is something unexpected as well.
With the addition of Nick and Maria doing something on their own, we decided that everyone would do something as partners. One other thing that we are doing is that one pair is going to have glass hanging between each other and then using the reflection of the glass make it appear that the soldier is chocking the ghost, getting rid of his guilty conscience. The reflection creates a very realistic vision while at the same time the audience can tell that it isn’t really happening, which I think makes it even more eerie and a little freaky. This really makes the performance that much more impacting and leaves an impression on the audience.
Even though each partner is doing something different I really like that everything ties in and is very coherent with each other. This unity definitely makes the production more understandable and moves the plot forward in a clear way. The whole combination of light, sound and acting creates an impacting, meaningful feeling.

RESEARCH QUESTION
What classical precedent did Tragicomedy include? How did this affect renaissance and Shakespearean theatre?

From end of Research Investigation till now

The movement exercise was really good as the beginning of trying to get us all used to just letting go while performing. When we perform, at least for me, it does seem to be hard to actually let go, probably because we get a little self conscious, at least I do. It's definitely something that is hindering our abilities to be really good and just let go and have fun while performing. This exercise is good, but I think maybe we could do something that will make us even more comfortable around each other, the problem is that I don't really know what that could be.

The thing we are working on now, and what we will keep working on in the beginning of next year, is the sue of transparent plastic. Through it we are using reflections, shadows and different uses of light to create different looks, to add to our final production. This use of the transparent glass creates really interesting, eerie, and cool effects.

If held with either person on both sides of the glass, and hands each touching the same place on the glass, the glass will stay up and keep stable. One of the things the glass does is make it look like two people are the same person, on either side of the glass. The transparency allows there to be a sort of mixture of the two people, if held at the right height.

We were told to come up with how to mesh all the aspects we could of the glass into a storyline. We came up with having three partners, everyone went to war and one person from each pair died. Throghout the whole time the "ghosts" of the partners are haunting the live person, but really its just the guilt of the living haunting them. By the end the living get over their guilt, represented by the ghosts falling and the living catching the glass.

In the beginning of the performance our voices are recorded over a soundtrack, the voices are whispers, supposedly the ghosts saying things like "You betrayed me" and "how could you" and other things like that. Although this wasn't what we were focusing on, it was really interesting to hear ourselves and record ourselves over a soundtrack.

The last class we were working on our production as a whole, and going through it a number of times with the sound added in. At the end, Mr. Sarstedt was playing around with the glass and we realized we could make really cool effects with the reflection of the light onto the dark wall. If the glass was somehow pressed to straight, it would create different effects on the reflection on the wall, it would distort the image. We thought this was really cool but we didn;t know how we could include it into our whole production, so we decided to leave it for now.

Reflection on Nick

During our last rehearsal each of us was told to watch someone else and then write reflection on how that person worked during rehearsal. I was told to watch Nick CS.

Nick payed a lot of attention to everyone throughout the whole rehearsal. He was definitely very attentive and tried to give feedback to all the actors as they were performing but also as they were waiting to go onstage. For example as Maria and Jordan were doing a scene, Ezgi had some questions as to how she should do her scene when she has her own dance. Nick went back and tried to talk her through it and although this was very helpful to Ezgi, Maria and Jordan seemed to lose focus and seemed to get a little sidetracked. But this isnt Nick's fault and he was trying to help everyone so I think that goes for a good director.

Nick always tried to make sure everyone was being spoken to and was never having any doubts, he always tried to answer everyones questions. Also, while peopl were acting he would stop them and tell them what they were doing wrong. For example while Maria and Jordan were acting he would stop them and try to make sure the audience coudl see them from every angle, and since this is a very common problem in theatre, but somethign that is easily fixed, it was very good he drew their attention to it. Still, nick seemed to stop the acting a lot which got a few of the actors a little annoyed. I think its good that he would stop them but he did do it a lot of times. Also he would say "keep going, BUT" and although that is good to do because he is giving feedback, its very hard for the actor to keep acting while at the same time listening to what the director is trying to tell them to change.

Also, when Nick was talking to some peopel and giving suggestions, he would block out what other peopel were doing and if they had any other input or issues themselves. But I understand why he wouldnt listen because he was doing something else and they would have to wait till it was their turn. Altogether though, I thought Nick was very good at giving direction and helpign out people when they needed help.

Up till now

Well after Julius Caesar we did some reflecting and also during it we did some activites that tried to help us get into character, which were don ein our inclass journals, and which I have below, in some pictures. We have now started a No discovery and to help us learn more about it and understand it, we are creating our own No production. I decided I would like to learn more about lights and sound, to do more of a techinical approach to this production, since I have never done it before.

I have now worked a good amount on mainly lights, even though I am doing both lights and sound.

Noh Action Plan

Laura Hall
Action Plan
Lights and Sound


Before Performance:

Day 1:
1. Learn about Noh theatre

Day 2:
2. Read the Well Cradle, Isutzu

Day 3:
3. Create our own pitches for a joint theatre production of our class

Day 4:
4. Present our idea to class

Day 5:
5. Choose as a class which one we should use to create our production
6. We chose Nick’s pitch
7. Choose roles for each person, I chose lights and sound

Day 6:
8. Read through scene synopsis
9. Mark areas where there may be a change in light or sound

Day 7:
10. Talk with director on what kind of sound/light
11. Go over scene synopsis with director, discussing changes in light and sound to get overall idea

Day 8:
12. Search for the correct sound
a. Instrument, timing, speed, etc.

Day 9:
13. Mark out a general idea of lighting

Day 10:
14. Learn how to use light and sound board
15. Play around with lights and sound, to get overall feel of it
16. Start going through the play and discuss with actors and director on what to do, whether anything should be changed

Day 11:
17. Make lights and sound set in stone
18. Practice lights and sound
19. Rehearse lights and sound

During Performance:

1. Get into right mind-set
2. Right before actual performance go through a quick run-through of light and sound
3. Check everything works right
4. When performance starts, pay attention and run through your script as performance is happening

After Performance:

Day 1:
1. Clean up
2. Get out of mind set
3. Save music CD and light plan for future reference

Day 2:
4. Write down what went wrong, what I could have done better, what went well, what I enjoyed, etc.

For the Noh performance that we are performing in our theatre class, I decided I would like to be lights and sound, the main reason I chose this is because I have never done it before and have always wanted to. Being lights and sound looks like an interesting job, and although together it might be a difficult job, this performance will be alright to do them together since it’s not a very big performance. I don’t think it will be especially difficult and it will be a good opportunity for me to get to learn both the lights and sound for a performance.

The director of the play, Nick, has given me a very rough idea of what the lights and sound should be like, which I think is a good thing because then it gives me more room to add my own creative ideas. It gives me more elbow room to change things and make my own decisions for the play, although that doesn’t mean I won’t listen to the suggestions he gives me. Overall I think the main idea of the play is change and how someone can change you’re opinion and love for another person very quickly. With that idea I think I would like to change the lights and sound throughout the play. Not drastically, but subtly I will change the lighting throughout the play, the lights will slowly decrease throughout the play, to show change from light to dark, good to bad. Still, Nick has told me that he would always like to keep emphasis on the well, so throughout the whole play I would like to keep a spotlight on through the whole play.

The sound of the play, however, is more challenging. First of all I have to find the right type of music, Asian mainly, for the play. Nick said he likes the idea of a flute as the main instrument, so I have had to ask Mr. Howard for help with that. I’m not sure whether or not I will be able to find flute music that changes from fast to slow and high to low quickly, for the scene where the main character, Noah strangles his girlfriend and then is drowned by the evil spirit.

Altogether I think this play will be challenging for me to do, but not impossible or too hard. I have made the rough Action plan for it so that I can have a checklist of what I need to do so that in the end everything will be completed and the play will run smoothly.

Julius Caesar

Overall I was very impressed by how the performance turned out, and how everything worked together to create such an amazing theatre production. In the beginning, when the beginning of the rehearsal process began, I didn’t think it was going to be so successful. I thought that there would be problems and that people wouldn’t get all they’re lines on time, but I was wrong. Even though the lines were a bit of an issue very close to when the actual play was supposed to happen, it wasn’t when the actual performance came around. Altogether the end result was really good and I was surprised by how much it actually did work out and how everything worked together in creating a really good performance of a very hard theatre piece.
I think that it was also very successful because we changed the actual time of when the play was happening, instead of all of us wearing togas and old roman clothing, the fact that the play took place in the seventies made it very easy to stage and direct. Because of this change everything worked together to create a more believable production as a whole. The lighting, set, costumes, music, setting, and minimalist props all worked very well to create a believable play.
The use of the modern music was very impressive because not only was it believable but it added to the reminder that although the play happened a very long time ago, it could easily have been something that could happen recently, and the music, along with the other qualities of theatre (set, costume, lights, props), was very convincing in showing how although it was written in Shakespearean times, it could easily be a modern play.
The costumes were not only helpful for the time of the play, they were also comfortable and easy to work with, which definitely made the play more enjoyable and easier to do. Even though at some times it may have been difficult to distinguish between each character (especially when everyone was wearing the war suit) overall the costumes were very helpful and made an impact. I think everyone was especially surprised and amazed by the identical war suits, because of how realistic they looked.
Although the scenery and props were very minimalist, I think it made more of an impact than having very high tech surroundings. If the stage was cluttered, there definitely would not have been such an impact on the audience, because since there was hardly anything onstage at all times, it made it easier for the audience to understand what was going on in the actual play. If there had been more things it would have distracted the audience and would have made the play even more confusing than it already is.
The over all acting in the play was very good, and provided very realistic and understandable feelings. Because of the acting, the main message of the play was captured by the audience. I think that everyone was a great actor/actress and everyone worked hard to try and do their best. There were some actors/actresses that stood out above the rest, but overall everyone did well.
I think that the main point of doing this play was not only to just do a modern version of a Shakespeare play, but also to show that the problems, main one being war and betrayal, are still prevalent today, and that this could happen at any point in the modern world, although not using the exact same language. This point was definitely carried across mainly because of the creative use and combination of all the elements of theatre.
Even though there were a few random problems during the performances, there was nothing that created too much of a problem. Everyone I have talked to since the play has said they really enjoyed it, so I don’t think that even if something did go wrong, that they noticed it.

Julius Caesar Action Plan, for sure

Alright, heres my second attempt at a full out action plan, I still don;t really have a for sure understanding of what an Action Plan is, but I have tried....

TAPS:
· Met with a theatre teacher who taught us how to project Shakespeare lines, and how to find the action behind each like
o Every line has an action behind it
Day 1:
· “tragic” plays
o Creating our own while integrating a tableau and a moment when no actual speaking si used
Day 2:
· Introduction to Elizabethan Theatre
o Conventions of Elizabethan Theatre
o Secularization
· Shakespeare Introduction
Day 3:
· Shakespeare
o Plays
§ Macbeth, Hamlet, Julius Caesar
· Julius Caesar Introduction
o What would we like to be and why
o How we view the play, what we think about it, what we think it will be like
o Say how we are going to prepare, how to practice lines and memorize them
Day 4:
· Work on Epic voice while reading a part from Julius Caesar
o Read a monologue and record it
o Give feedback on each persons voice and how they read the lines
Day 5:
· Audition for Julius Caesar

Day 6:
· Look over role
· Read lines
Day 7:
· Read over lines, and figure out action behind each
· Keep on reading lines, once memorized begin practicing while acting
Day 8:
· Run through play, all scenes, with all actors
Day 9:
· Incorporate props and set
Day 10:
· Dress Rehearsal
Day 11, Deadline:
· Day of Production
o Work on lines earlier
o Warm up, try to get rid of nerves or work with them
§ Practice different warm ups for example bang, to help bring energy up
o Practice with voice, try not to loose it, and not to let it crack while onstage
· Clean up stage, costumes, makeup, set, props, etc.
Day 1 after Deadline:
· After production, clean up
· Talk about what went wrong, why it went wrong
· What could we have worked on?
· What went well?

journal