Thursday, 26 May 2011
Wednesday, 25 May 2011
SCORE
*personal score for 1st section*
Sitting looking at and nodding subtly to the audience as they enter as music plays.
Glans at jess on my right
Watch as gary realizes that he has no seat then gesture toward the piano stool for him to sit on.
Watch as he noisily drags the chair disrupting the music until he is settled.
Catch Jess's eye as she gestures toward the fiction Douglas Fairbanks sat in the audience, nod at the audience member who represents fairbanks.
Smile at audience.
Jess brings me plate of food from buffet, nod in thanks and eat the plate of food, crunching loudly on plates.
Look out still eating as 'Smile' plays.
Watch gary getting near with the drinks as he passes take one.
Take a sip and choke slightly, then laugh, before regaining restraint
The performers at the far side move back... turn to the left to face gary (who id already in position).
Listen and nod as gary delivers speech.
'Douglas will remember this' turn synchronized with jessica and point at fairbanks.
On 'firm kick to the bottom' lower hand and turn back to Gary.
On the ending of Rufaro's laughter stand uneasily
Look at Rufaro, then turn to face the audience. knowingly look as though you are nervous about what you are going to do.
Finish your drink then start to hum.
Sitting looking at and nodding subtly to the audience as they enter as music plays.
Glans at jess on my right
Watch as gary realizes that he has no seat then gesture toward the piano stool for him to sit on.
Watch as he noisily drags the chair disrupting the music until he is settled.
Catch Jess's eye as she gestures toward the fiction Douglas Fairbanks sat in the audience, nod at the audience member who represents fairbanks.
Smile at audience.
Jess brings me plate of food from buffet, nod in thanks and eat the plate of food, crunching loudly on plates.
Look out still eating as 'Smile' plays.
Watch gary getting near with the drinks as he passes take one.
Take a sip and choke slightly, then laugh, before regaining restraint
The performers at the far side move back... turn to the left to face gary (who id already in position).
Listen and nod as gary delivers speech.
'Douglas will remember this' turn synchronized with jessica and point at fairbanks.
On 'firm kick to the bottom' lower hand and turn back to Gary.
On the ending of Rufaro's laughter stand uneasily
Look at Rufaro, then turn to face the audience. knowingly look as though you are nervous about what you are going to do.
Finish your drink then start to hum.
Group Dynamic
How we Kept the peace
What i am about to write may perhaps seem wishy washy, But it is all i can write as it is the truth of the experience i had.
In first year we were made equipped to deal with any kind of complications that may arise in the sometimes tricky world of artistic group work. And with such a large group i went n to this process armed with all of DeBono's six hats ready to defuse any dodgy situations.
I can honestly say that all six hats stayed in the cupboard. we all respected and worked coherently with each other. That is not to say that we didn't ever annoy each other because we did, but we calmly spoke to each other about what we thought was wrong. and when we got irrationally annoyed because someone chewed there sandwich to loudly, we just took five minutes. there were times when we left rehearsals frustrated not with each other really, but with the piece but always someone would send out a facebook message or text that lifted our spirits just saying that tomorrow we would make a fresh start.
we always trusted our out side eye. and if you wanted to see a scene you could always take a turn of sitting out to see what the whole picture (minus yourself of coarse) looked like.
I am under no illusions that all ensembles work so easily together but w really did we were all open about how we felt and accepted that at times we would be stressing and needed a break. no one brought moods or issues to rehearsal. we all did our best to come into the space with an open mind. I was lucky as were my friends and group members to have such a co-operative group and i thank all of them for the experience.
What i am about to write may perhaps seem wishy washy, But it is all i can write as it is the truth of the experience i had.
In first year we were made equipped to deal with any kind of complications that may arise in the sometimes tricky world of artistic group work. And with such a large group i went n to this process armed with all of DeBono's six hats ready to defuse any dodgy situations.
I can honestly say that all six hats stayed in the cupboard. we all respected and worked coherently with each other. That is not to say that we didn't ever annoy each other because we did, but we calmly spoke to each other about what we thought was wrong. and when we got irrationally annoyed because someone chewed there sandwich to loudly, we just took five minutes. there were times when we left rehearsals frustrated not with each other really, but with the piece but always someone would send out a facebook message or text that lifted our spirits just saying that tomorrow we would make a fresh start.
we always trusted our out side eye. and if you wanted to see a scene you could always take a turn of sitting out to see what the whole picture (minus yourself of coarse) looked like.
I am under no illusions that all ensembles work so easily together but w really did we were all open about how we felt and accepted that at times we would be stressing and needed a break. no one brought moods or issues to rehearsal. we all did our best to come into the space with an open mind. I was lucky as were my friends and group members to have such a co-operative group and i thank all of them for the experience.
Costume
One of my main tasks was as the costume co-ordinator \ buyer. Basically my self and anna got any peices of costume for the group that people didn't already own and then we helped develop the looks we were all suppost to have, which of coarse contributed to the over all aesthetic of the peice.
we knew we wanted to work with black and white mainly with just hints of coulor. all of our costmes arer based on costumes from Chaplin fim stills. and all of the girls would be pretty and or sexy so we could look like possible sex objects and love interests.
Rufaro... The boxer
Gary... The Jester / Clown
Glenn... The Tramp
Anna: The Maid
Lisa... The secretary
Donna... The Hippie Bride
Jess... The Vaudeville girl
Richard... Colorful Wake Guest (a take on the traditional funeral attire).
The contrast of the costumes were good to look at and also fitted with the fairly minimal setting that the performance had.
we knew we wanted to work with black and white mainly with just hints of coulor. all of our costmes arer based on costumes from Chaplin fim stills. and all of the girls would be pretty and or sexy so we could look like possible sex objects and love interests.
Gary... The Jester / Clown
The contrast of the costumes were good to look at and also fitted with the fairly minimal setting that the performance had.
Tuesday, 24 May 2011
After Thought
Take a Bow
Well its all over now and i have had a while to reflect. The audience really really liked it and understood the poignancy of the piece with it being our final performance. The performing of this piece especially the second one was so emotional, i felt a little silly but i think if anything it added to the performance because people were so invested in wanting to communicate with the audience (who by the way were also emotional). at the end when we sit in line facing the audience -mirroring the beginning- with unforgettable playing it meant so much. It sound very cheesy but i will never forget these people. i was in floods of tears and if I'm honest i had been holding it in since the start. i don't know why but before the actual performance a lot of the meaning f this piece was lost on me, I'm rather ashamed to say. I think for me the performing of this piece was us communicating to our friends and audience that we have changed and grown with there help over the past three years... but now we have to let them go. and this was our way of sating good bye. we didn't know this really while making it but thats exactly what it was... it must have been in the groups sub-conscious. I am in love with this piece, its still a little scrappy in places and f coarse is could be made better, but, it took me out of my comfort zone completely and i am thrilled to leave on the high that id 'All Thats left'.
Fractured Fusion, sadly minus Glenn went to london to perform another show the day after we finished 'All Thats Left' and we saw this street performer... I have to admit i shed a quiet sentimental tear while watching this man re create the the gentle legend that is Charlie Chaplin's 'tramp'.
Well its all over now and i have had a while to reflect. The audience really really liked it and understood the poignancy of the piece with it being our final performance. The performing of this piece especially the second one was so emotional, i felt a little silly but i think if anything it added to the performance because people were so invested in wanting to communicate with the audience (who by the way were also emotional). at the end when we sit in line facing the audience -mirroring the beginning- with unforgettable playing it meant so much. It sound very cheesy but i will never forget these people. i was in floods of tears and if I'm honest i had been holding it in since the start. i don't know why but before the actual performance a lot of the meaning f this piece was lost on me, I'm rather ashamed to say. I think for me the performing of this piece was us communicating to our friends and audience that we have changed and grown with there help over the past three years... but now we have to let them go. and this was our way of sating good bye. we didn't know this really while making it but thats exactly what it was... it must have been in the groups sub-conscious. I am in love with this piece, its still a little scrappy in places and f coarse is could be made better, but, it took me out of my comfort zone completely and i am thrilled to leave on the high that id 'All Thats left'.
Fractured Fusion, sadly minus Glenn went to london to perform another show the day after we finished 'All Thats Left' and we saw this street performer... I have to admit i shed a quiet sentimental tear while watching this man re create the the gentle legend that is Charlie Chaplin's 'tramp'.
Monday, 16 May 2011
Rehearsal 41 & 42
Finishing Touches
14/4/11 and 15/5/11
Well this it it the rehearsal process is over... and i won't lie I'm nervous. we haven't properly ran it yet with all the last minuet tweaks. BUT I think we just might pull it off. Although i don't know how people will react.
we showed kevin the piece on sunday night and his notes were as follows:
Kevin's Notes:
The middle section is still unclear, its good but needs to be validated more
Dont use the curtains to their full potential, there nice though and we should celebrate having them
Nice balance with the costumes!
Gary go through the curtains at the start to establish the curtains and their rules.
The curtains are there for one to go through not to be hidden behind
Nice at the beginning, the idea that what has happened before this, not just about somebody dying.
Nice choreographed moments.
We all need to be aware of where things are on the floor.
There is an issue on health and safety, the audience needs to walk through the mess afterwards!
Douglas Fairbanks, Point to the same person
The singing bit is slightly awkward but we can work on it, just doesn't feel polished, but as it continues it gets better. The for people stood on the chairs at this point need to be slightly more aware.
More opportunity for overlapping, 'I'm gonna do it' came in late, Chop Gary's apologetic speech of with this.
Jess & Donna putting the plates down is nothing special, Its more about putting the smile side up in your hand before placing it on the floor, make it a moment and not a function.
'Storming off stage upset' can be seen. Somebody needs to storm off stage.
There should be more 'Toasts' not breakfast 'Toast'. They give a better reason for the monologues. could 'Toast' in someway after every monologue. Change the 'Toasts' (To Dad, To our little fellow, Gary; To Me) this could also give a reason to use more objects, toast with different objects, will look more scattered and more messy. This can get more ridiculous and hectic as it goes on. Rush to get these objects and just throw everything. Could replace some of the 'Trumpets' with these cheers.
Could Toast, each performer.
Standing behind curtains doesn't work theres never a particularly good reason for us to go behind there. The covering up of people works however. Could break the rule of the curtain and when covered we can go out on our own! and then go back through, Its all about getting in place than been in place. Can still be placed behind, but when we are behind we can 'go our own way'.
Glenn going to the piano is really nice, went on a bit too long though! stopping and starting could be an idea for this.
Blur the distinction between his wake and our wake more. Chaplin is a metaphor in this piece for 'us'.
Lisa, nobody should have to see that, refer to the bum bums. The bums can also be planted earlier on.
Glenn Scroll, could start doing it a lot earlier and slower, this also establishes the bum bums again! this will cut shorter Glenn on the piano.
Music on Glenn's Section needs to be lower and Glenn needs to be louder, THIS IS ESSENTIAL!
Anna's speech, is lovely, but goes right back to Chaplin, this is whats mean by 'blurring', Chaplin-indivindual-Chaplin, Should be; Chaplin-Individual-Chaplin-Individual-Chaplin-Indi
curtains shouldn't end at the back, we could be doing entrances during Pablo! There is room to play with the curtains a lot more.
The main note is that the performance needs to be not about Chaplin but the metaphor of Chaplin.
So, we have a few things to clarify. again me need to make the bonds between us will make us them more apparent nothing to drastic just always be thinking about the others in the space. also when we spend time behind the curtains don't just act as if no one can see us... because they can. we need to always be aware of the audience even when we are 'off stage'.
we are adding in toasts al though the performance toasting loudly and subtlety through out, its nice because it brings the audience into the space with us. and the fact hat it is out 'swan-song' at university i want the audience to share it with us.
And finally the use of the legacy's make sense. we all have one and we hold it up behind the curtain to remind the audience not to forget us... which is poignant i think.
I will be honest i am nervous about the performance... its not like anything i have ever performed in and i just really want the audience to like it... I think my mind will be made up on the piece when my performance gets its audience reaction. Ahhhh! I don't know if thats rights but I'm not sure if thats right, but thats how i feel.
14/4/11 and 15/5/11
Well this it it the rehearsal process is over... and i won't lie I'm nervous. we haven't properly ran it yet with all the last minuet tweaks. BUT I think we just might pull it off. Although i don't know how people will react.
we showed kevin the piece on sunday night and his notes were as follows:
Kevin's Notes:
The middle section is still unclear, its good but needs to be validated more
Dont use the curtains to their full potential, there nice though and we should celebrate having them
Nice balance with the costumes!
Gary go through the curtains at the start to establish the curtains and their rules.
The curtains are there for one to go through not to be hidden behind
Nice at the beginning, the idea that what has happened before this, not just about somebody dying.
Nice choreographed moments.
We all need to be aware of where things are on the floor.
There is an issue on health and safety, the audience needs to walk through the mess afterwards!
Douglas Fairbanks, Point to the same person
The singing bit is slightly awkward but we can work on it, just doesn't feel polished, but as it continues it gets better. The for people stood on the chairs at this point need to be slightly more aware.
More opportunity for overlapping, 'I'm gonna do it' came in late, Chop Gary's apologetic speech of with this.
Jess & Donna putting the plates down is nothing special, Its more about putting the smile side up in your hand before placing it on the floor, make it a moment and not a function.
'Storming off stage upset' can be seen. Somebody needs to storm off stage.
There should be more 'Toasts' not breakfast 'Toast'. They give a better reason for the monologues. could 'Toast' in someway after every monologue. Change the 'Toasts' (To Dad, To our little fellow, Gary; To Me) this could also give a reason to use more objects, toast with different objects, will look more scattered and more messy. This can get more ridiculous and hectic as it goes on. Rush to get these objects and just throw everything. Could replace some of the 'Trumpets' with these cheers.
Could Toast, each performer.
Standing behind curtains doesn't work theres never a particularly good reason for us to go behind there. The covering up of people works however. Could break the rule of the curtain and when covered we can go out on our own! and then go back through, Its all about getting in place than been in place. Can still be placed behind, but when we are behind we can 'go our own way'.
Glenn going to the piano is really nice, went on a bit too long though! stopping and starting could be an idea for this.
Blur the distinction between his wake and our wake more. Chaplin is a metaphor in this piece for 'us'.
Lisa, nobody should have to see that, refer to the bum bums. The bums can also be planted earlier on.
Glenn Scroll, could start doing it a lot earlier and slower, this also establishes the bum bums again! this will cut shorter Glenn on the piano.
Music on Glenn's Section needs to be lower and Glenn needs to be louder, THIS IS ESSENTIAL!
Anna's speech, is lovely, but goes right back to Chaplin, this is whats mean by 'blurring', Chaplin-indivindual-Chaplin, Should be; Chaplin-Individual-Chaplin-Individual-Chaplin-Indi
curtains shouldn't end at the back, we could be doing entrances during Pablo! There is room to play with the curtains a lot more.
The main note is that the performance needs to be not about Chaplin but the metaphor of Chaplin.
So, we have a few things to clarify. again me need to make the bonds between us will make us them more apparent nothing to drastic just always be thinking about the others in the space. also when we spend time behind the curtains don't just act as if no one can see us... because they can. we need to always be aware of the audience even when we are 'off stage'.
we are adding in toasts al though the performance toasting loudly and subtlety through out, its nice because it brings the audience into the space with us. and the fact hat it is out 'swan-song' at university i want the audience to share it with us.
And finally the use of the legacy's make sense. we all have one and we hold it up behind the curtain to remind the audience not to forget us... which is poignant i think.
I will be honest i am nervous about the performance... its not like anything i have ever performed in and i just really want the audience to like it... I think my mind will be made up on the piece when my performance gets its audience reaction. Ahhhh! I don't know if thats rights but I'm not sure if thats right, but thats how i feel.
Friday, 13 May 2011
Rehearsal 38-40
The tweaking begins
5/5/11 to 13/5/11
we have now got in two lovely first years to do our sound and tech which is great because when we are not running in and out to control the sound and lights it makes us able to have a really smooth run. we showed kevin our potentially complete performance.
Kevin notes! 5/5/2011
Taking shape, nice shape
Main issue -> making connections across us all
Crampness of space
Feels like a group of individuals not a group working as a whole
Look and acknowledge each other
Whys and therefores?
Every object has a journey like us.
Piano stoll maybe come from outside.
Rufaro kicking gary WHY…with our journeys need to be aware?
Beginning works well better when natural – working as part of image.
Something staggered and busy… TOO BUSY AT ONCE… PERHAPS MAKE A POINT OF IT? – maybe stand as foursome R & G move (thinking time)
New line ‘small things’
Donna choking funny it works and connects later.
Rufaro uncle tom.
Have images in head when doing stuff.
Anna and lisa silent film lovely – let last longer
NOT HAVING TO GO TO BACK TO DO NOTHING!
Nice moments of just sitting.
PIANO (GLENN/GARY STOOL) MAKE THESE CONNECTIONS!!!
Find function of signs
Anna line… ‘love makes you useless at everyday tasks’, weave in more ‘bask in warmth’.
WATCH EACH OTHER AND LISTEN
Text is littered with things that people could make connections with and relate
Do a run where we are so conscious of everyone else (Record This)
Piano stool is out of place (Consider the objects on stage) Could bring the stool into the space.
Ruffaro kicking Gary, know why your doing it. Needs a reason, know your journeys.
Beginning works really well, don’t force the text.
Exiting from the beginning is to staggered and to busy all at once, could change this or make a reference to this.
Donna Choking and laughing good and important.
Ruffaro choking points towards vaudeville! (Nice little touches, think more about these touches)
Laughing on stools nice moment and breaks it!
The doo wop songs works well but change the song (Chesnuts roasting song)
Lisa and Anna running (silent movie) works really well, however it ends abruptly!
Likes Greenie doing nothing for a long time.
Be careful of text, sometimes falling into an improvise mode works and sometimes doesn’t, the jack jones bit I an example of not working, makes audience read into something that is not important.
Glenn Danny boy works well.
Feels really fluid now.
Map our journeys, always be aware of yourself and others.
Its nice not having the piano there, and having the stool where the piano should be is really nice.
Lisa and Donna/Gary sleeze/girls doing hair/ Ruffaro at front all needs looking at.
Stop using ‘I’ in the text, ‘he’ or ‘we’ will do fine. This opens the text up. Or could get rid of all the reference to a person.
Plant the gary text rose seed earlier. Probably put a rose in the space.
Get rid of west side story line. “Feel like I’m in (Charlie Chaplin Film)”
The signs feel misplaced and needs a lot of time to work on.
Look at the transitions of the curtain. Why is that person moving the curtains, make this more apparent and consistent. And why does that person stay behind the curtain. Probably hold up legacy placards.
Get a fab from the table. Provides imagaes in the text.
Greenie, Jess works well.
Plackards work, signs don’t.
Glenns text is a really nice moment. Gives a lot at a point when we need a lot.
Could be a connection between 2 people in Anna’s text. Map the journey
Nuttini dance at the end good. Donna laughing could come back in the nuttin dance.
Cane’s need to come in more, hit bums and stuff a bit more bumming in general. Everyone has to have a cane at some point.
The maths section doesn’t work. The numbers are important but not in a way that is explicit. The facts could be internal to the performer. Its not interesting to know and isn’t asking any conceptual questions.
Its not a piece about Chaplin it’s a piece about Us. Don’t forget this.
Plates on floor walking over them all turned up smiling. Should end with a plaphour of plates on the floor.
BE ANAL!!!!!!!!
Gary text multiplicity should be more than just seducing gary.
Kevin quote – “If its something your doing then you should be thinking about it before hand.
Do not assume what we have is correct and right.
honestly i was nervous t show kevin what we had because although i thought we were sitting on a piece that was fun to perform i didn't know how well put together it was, or how well it would look as a whole. Yes we have a lot of notes' but at the end of the day we have a week to perfect what we have, and I'm happy to say kevin liked it over all. he thought we made something that is quite special :D!!
what i took from what we still had to do is we MUST map our journeys in the space and develop subtle relationships with each other, We all individually went through our journey in the space physically looking at who we encounter and why. because there are eight of us we don't all interact all of the time, in fact some of us don't even look at each other from beginning to end. My relationships with jess and lisa are strong... and i also have quite a comical relationship with gary. other than that i may only glance at the others but they do don't play a huge part in my personal journey and i don't have a lot of significance in theirs.
I have been working really hard to do everything with a purpose and to know what I'm doing. there is something i do a lot in the piece and thats laugh. which when you consider the performance is set in a wake is fairly significant. I think my persona is that of someone who just wants to make light of the situation, i want people to laugh with me and celebrate Chaplin and ourselves but i can never quite escape the confines of the wake.
OH AND WE HAVE CURTAINS!!! CHEERS PHIL COLLIN'S
5/5/11 to 13/5/11
we have now got in two lovely first years to do our sound and tech which is great because when we are not running in and out to control the sound and lights it makes us able to have a really smooth run. we showed kevin our potentially complete performance.
Kevin notes! 5/5/2011
Taking shape, nice shape
Main issue -> making connections across us all
Crampness of space
Feels like a group of individuals not a group working as a whole
Look and acknowledge each other
Whys and therefores?
Every object has a journey like us.
Piano stoll maybe come from outside.
Rufaro kicking gary WHY…with our journeys need to be aware?
Beginning works well better when natural – working as part of image.
Something staggered and busy… TOO BUSY AT ONCE… PERHAPS MAKE A POINT OF IT? – maybe stand as foursome R & G move (thinking time)
New line ‘small things’
Donna choking funny it works and connects later.
Rufaro uncle tom.
Have images in head when doing stuff.
Anna and lisa silent film lovely – let last longer
NOT HAVING TO GO TO BACK TO DO NOTHING!
Nice moments of just sitting.
PIANO (GLENN/GARY STOOL) MAKE THESE CONNECTIONS!!!
Find function of signs
Anna line… ‘love makes you useless at everyday tasks’, weave in more ‘bask in warmth’.
WATCH EACH OTHER AND LISTEN
Text is littered with things that people could make connections with and relate
Do a run where we are so conscious of everyone else (Record This)
Piano stool is out of place (Consider the objects on stage) Could bring the stool into the space.
Ruffaro kicking Gary, know why your doing it. Needs a reason, know your journeys.
Beginning works really well, don’t force the text.
Exiting from the beginning is to staggered and to busy all at once, could change this or make a reference to this.
Donna Choking and laughing good and important.
Ruffaro choking points towards vaudeville! (Nice little touches, think more about these touches)
Laughing on stools nice moment and breaks it!
The doo wop songs works well but change the song (Chesnuts roasting song)
Lisa and Anna running (silent movie) works really well, however it ends abruptly!
Likes Greenie doing nothing for a long time.
Be careful of text, sometimes falling into an improvise mode works and sometimes doesn’t, the jack jones bit I an example of not working, makes audience read into something that is not important.
Glenn Danny boy works well.
Feels really fluid now.
Map our journeys, always be aware of yourself and others.
Its nice not having the piano there, and having the stool where the piano should be is really nice.
Lisa and Donna/Gary sleeze/girls doing hair/ Ruffaro at front all needs looking at.
Stop using ‘I’ in the text, ‘he’ or ‘we’ will do fine. This opens the text up. Or could get rid of all the reference to a person.
Plant the gary text rose seed earlier. Probably put a rose in the space.
Get rid of west side story line. “Feel like I’m in (Charlie Chaplin Film)”
The signs feel misplaced and needs a lot of time to work on.
Look at the transitions of the curtain. Why is that person moving the curtains, make this more apparent and consistent. And why does that person stay behind the curtain. Probably hold up legacy placards.
Get a fab from the table. Provides imagaes in the text.
Greenie, Jess works well.
Plackards work, signs don’t.
Glenns text is a really nice moment. Gives a lot at a point when we need a lot.
Could be a connection between 2 people in Anna’s text. Map the journey
Nuttini dance at the end good. Donna laughing could come back in the nuttin dance.
Cane’s need to come in more, hit bums and stuff a bit more bumming in general. Everyone has to have a cane at some point.
The maths section doesn’t work. The numbers are important but not in a way that is explicit. The facts could be internal to the performer. Its not interesting to know and isn’t asking any conceptual questions.
Its not a piece about Chaplin it’s a piece about Us. Don’t forget this.
Plates on floor walking over them all turned up smiling. Should end with a plaphour of plates on the floor.
BE ANAL!!!!!!!!
Gary text multiplicity should be more than just seducing gary.
Kevin quote – “If its something your doing then you should be thinking about it before hand.
Do not assume what we have is correct and right.
honestly i was nervous t show kevin what we had because although i thought we were sitting on a piece that was fun to perform i didn't know how well put together it was, or how well it would look as a whole. Yes we have a lot of notes' but at the end of the day we have a week to perfect what we have, and I'm happy to say kevin liked it over all. he thought we made something that is quite special :D!!
what i took from what we still had to do is we MUST map our journeys in the space and develop subtle relationships with each other, We all individually went through our journey in the space physically looking at who we encounter and why. because there are eight of us we don't all interact all of the time, in fact some of us don't even look at each other from beginning to end. My relationships with jess and lisa are strong... and i also have quite a comical relationship with gary. other than that i may only glance at the others but they do don't play a huge part in my personal journey and i don't have a lot of significance in theirs.
I have been working really hard to do everything with a purpose and to know what I'm doing. there is something i do a lot in the piece and thats laugh. which when you consider the performance is set in a wake is fairly significant. I think my persona is that of someone who just wants to make light of the situation, i want people to laugh with me and celebrate Chaplin and ourselves but i can never quite escape the confines of the wake.
OH AND WE HAVE CURTAINS!!! CHEERS PHIL COLLIN'S
Thursday, 5 May 2011
Rehearsal 32-37
THE INTENSIVE WEEK
27/4/11 to 03/5/11
27/4/11 to 03/5/11
So I'm going to write this week up as one long rehearsal... because essentially that is hat it has been. We came back roughly a week early from Easter break so we would have free rein over the spaces.
This week was great, really great. I think the break from rehearsals over Easter let me really think about what I thought the piece was lacking. I came back a little apprehensive about how this weeks rehearsals will go. I was frightened that I would not find my passion and why with piece... but I can say now after this week I think I have.
As much as I should have probably been mussing over the material we have and generating ideas for material to come on the week or so we had off, but honestly I kind of let myself forget about it. I felt almost guilty first rehearsal back as every one came in talking about how they could not stop thinking about ideas all through Easter. I had thought but I think just because before Easter I was stressing about the performance I needed some time to calm down about it and come back with a new and fresh attitude, I think before the pressure of this being my last ever performance was getting to me.
The first thing we all agreed was that we need to just have fun with it... to stop being so ridged. We have good scenes and text to work with but the way it is structured now is not necessarily the best way, we are not talking about going right back to the drawing board but rather being playful with the good material that we have made to further improve it. When I came into rehearsal and realizes that everyone agreed we needed to play with it, I got really excited.
I realized, no we realized that the idea and method we were using of embodying one of his children was really smothering the potential of the piece. Every two minuets we all had to ask ourselves would Christine or Victoria, or whoever we were do this? It was not the, meticulous questioning we disliked, but we could all see that this meticulous thinking really wasn't helping our piece at all, in fact I believe its stiffening it.
Going through the piece without such restriction is refreshing and we are all putting ourselves into the actions we carry out, this is naturally lifting the piece. Also it think if I have learned one thing in my three years its that although I do not believe in an all encompassing self, its impossible when performing to escape what others perceive to be you. When watching Helen Mirren in 'The Queen' you never one think I'm watch the Queen on TV you think I'm watching Helen Mirren as the queen. I think it’s so important to me that this piece is more about us than Chaplin’s relations... or even Chaplin himself. I think we should use Chaplin’s work and legacy to make our own legacies in this performance. Also the themes of death witch are present, I realized are very poignant because although hopefully none of us will die we will all be leaving the 'uni' part of our life behind to start a new life in the big bad world :) and this performance marks the transition from uni life to the next.
The main factors we looked at this week was omitting any unnecessary text... we were doing an awful lot of redundant chit chat and where as in previous performances I have made text in the rambling conversational style worked, this piece is far more choreographed ad controlled so we need to be carful about what we say and the way we say it.
The idea of putting in speech bubbles and title boards as homage to silent films is being work shopped I'm not quite sure where I stand on it. I think maybe they could work it on them was written personal facts about us the performers. We shall see how they come but they have not quite found their place yet.
We have also been rehearsing with food, witch makes the piece sooooooooooooo much better, and really you would not believe it. I don’t know why but we all agree that watching people on stage eating is very endearing and we fully intend to play on this.
Our piece this week had developed a real aesthetic that I am new to yet fond of. Its quite surreal with odd jarring gestures and allot going on yet for the most part everyone is quite calm and does nothing o extraverted. I think having so many people on stage means if we all do something even quite little at the same time it is, for the audience, quite frantic, even though individually we feel like we are underperforming (if such things exist).
Because we do want some down time in the piece for us as performers and to give the audiences eyes a rest we need an off stage. The buffet is great and essential to the piece but it does the opposite of provide an off stage it is very entertaining to look at and when the performers are picking at it I found it (when I was the outside eye) quite mesmerizing. We are having our own mobile theatre curtain built. Especially for us. Two of them that we will use to hide prefers behind. Also if they are curtains they fit with our vaudeville theatre theme and also allow us to make grand entrances. The man who is building them for us is called ...Phil Collins :)
Another thing we have finalized this week is the structure of the piece. Its a circle. it begins in wake and ends in the wake and there are many subtle levels in between. i think the image we begin with of all of us in a line making direct eye contact with the audience will be the ending image.
the end is near now. its hitting us all i think that we are finished soon... and i think this piece could be quite an emotional one.
Another thing we have finalized this week is the structure of the piece. Its a circle. it begins in wake and ends in the wake and there are many subtle levels in between. i think the image we begin with of all of us in a line making direct eye contact with the audience will be the ending image.
the end is near now. its hitting us all i think that we are finished soon... and i think this piece could be quite an emotional one.
Tuesday, 5 April 2011
Rehearsal 29-31
Bring in the Talkies
1/4/11 to 4/4/11
Ok so our piece seems to be developing a definite aesthetic. the mismatched chairs are great they are really simple but give that feel of a family party or funeral as the case may be. We are rehearsing the material that we have just running and tweaking. as of yet we are not worried about the time. we are going to deffo have 30mns by the easter break in a few days then we are coming back a week early, for some intense rehearsals. We are tweaking elongating and simplifying. the beginning section is very stylized. its quirky and slow pace and very very accurate i think this may be a style laced throughout the piece along with moments of fast paced madness.
Im going off the silent move scenes they don't fit, we know this but it seems no matter what we do we can't get them to sit nicely in our piece. its very frustrating. and if I'm totally honest now I'm getting really bored of them. we have made story bored for them so we know exactly what goes in each section BUT... I don't like them at all i have to say. but i feel its to early to ask the group to scrap them all together and i really want the silent film in it but... not in this way i think we just need to lace gestures through out.
I think I'm at a little bit of a low point with it at the moment. I'm not sure how the piece will go. i really want to leave on a high note!!
1/4/11 to 4/4/11
Ok so our piece seems to be developing a definite aesthetic. the mismatched chairs are great they are really simple but give that feel of a family party or funeral as the case may be. We are rehearsing the material that we have just running and tweaking. as of yet we are not worried about the time. we are going to deffo have 30mns by the easter break in a few days then we are coming back a week early, for some intense rehearsals. We are tweaking elongating and simplifying. the beginning section is very stylized. its quirky and slow pace and very very accurate i think this may be a style laced throughout the piece along with moments of fast paced madness.
Im going off the silent move scenes they don't fit, we know this but it seems no matter what we do we can't get them to sit nicely in our piece. its very frustrating. and if I'm totally honest now I'm getting really bored of them. we have made story bored for them so we know exactly what goes in each section BUT... I don't like them at all i have to say. but i feel its to early to ask the group to scrap them all together and i really want the silent film in it but... not in this way i think we just need to lace gestures through out.
I think I'm at a little bit of a low point with it at the moment. I'm not sure how the piece will go. i really want to leave on a high note!!
Friday, 1 April 2011
Rehearsal 25-28
Slowly but surley
24/3/11 till 31/3/11
well i think we may have a set beginning, of coarse we need to tweak it but we are defiantly at a wake, that wont change. still i think as the piece progresses we will need to define the wake more as it gets lost in the madness, witch is fun to watch but it's not necessarily saying anything. the buffet table is also defiantly in. we have a lot of little scenes that we have place together and we feel like it is a good running order. although i have said that i have my reservations that the piece so far doesn't flow very well. but sometimes it just seems like that when you have made little sections and put them together, you cant be objective you know, hence the importance of the outside eye. we showed our slightly polished 20 mns to kevin and here are his notes.
• Chair organisation at beginning, not good. Change them around.
• Bit more characterisation at the beginning. What do we do if they don’t shake our hands.
• Find some dialogue, don’t fall back on the pointless chatter. (probably from early talkies.) Makes it a bit less improvisation.
• Close down on the material
• The smile song becomes quite mundane without characterisation.
• Gary’s speech is good. Don’t set up the toast
• When we turn down before the chair dance, its all ASSES, if we want that show them that we want that. Hold it for longer.
• The switch into the descriptions is odd. Still reading into the wake. EDITING.
• Get props for the descriptions. Doesn’t need to be ‘that’ object. Could use the food from the wake table.
• The dialogue feels to staged.
• The text on the string is good. But needs to be bigger!!! You need to show that your helping the audience along.
• Gary’s song odd choice. It’s a really strange shift, too shooting stars.
• The sign that says applause again jars. Is this about silent film or theatre? (CLEAN THINGS UP)
• Not sure why he should sit and watch us research. Need to know what we are investing in, what are we aiming for.
• Mary and the eyes?? Who is Mary and what about her eyes???
• What is it that keeps bringing us all to the front.
• The wake disappears. What was the point in setting it up at the beginning?
• What is the role of the microphone? What about a megaphone, a cardboard megaphone? Is the technology really important?
• Bring in the wives earlier on. The coat stand is odd. In the words of Kevin “It’s a friggin coat stand” however the image with Anna caressing the coat is really nice. The text here is also really nice.
• Choreography needs to be put in, in the sitting and waiting, if people aren’t in certain scenes.
• White curtain at the back is really nice.
• Should the table go all the way across the back.
• Not getting the French scene. The way the scene is set up the text doesn’t become very relevant. What is it all bout? However Anna and Lisa’s movement on the chairs is really nice.
• Why is Gary exercising? What is Gary’s purpose in the whole piece?
• We are trying to be a bit too cryptic, throughout the whole performance. It’s knowing what to spoon feed the audience.
• What if someone reveals the whole idea on chaplin as a mistake.
• Glenn text needs to get rid of the reference to the ‘smile’ lyrics.
• We all seem to be in the same place.
• Doesn’t know that all the material links to the ‘dead man’
• Who are Lisa and Jess describing the scenes for.
• Gary Piano Note – “Take your foot off that friggin sustain pedal”
• Our description could be going back to the wake. A lecturn, possibly, something that Lisa and Jess can keep going back too.
• The silent sections seem confused. We don’t know what there, there for. However they are really nice and have really nice moments.
• We don’t know what needs to be set up and what doesn’t.
• Generally we need to pay careful attention to everything. Modern music works well but the audience needs to understand.
A long list to fix... but honestly i think we know e would have to do a lot with it. i think we need to be carful of putting in improvised text in to fill silences myself Richard and gary are very guilty of this. I'm so scared of doing nothing on stage, i like to always be chatting away, and sometimes thats fine but in this piece its just not going to cut it.
I have to admit right now i feel odd about the piece. its much more subtle in its style than what I'm used to making. I'm so used to falling back on funny... and i think i believe to be funny in a piece you must be very extraverted... but i think if we try hard and with an audience this piece can be funny in its own quiet way. although i don't think everything needs to be a comedy i do think everything must be humorous to some extent. Chaplain was a funny man after.
24/3/11 till 31/3/11
well i think we may have a set beginning, of coarse we need to tweak it but we are defiantly at a wake, that wont change. still i think as the piece progresses we will need to define the wake more as it gets lost in the madness, witch is fun to watch but it's not necessarily saying anything. the buffet table is also defiantly in. we have a lot of little scenes that we have place together and we feel like it is a good running order. although i have said that i have my reservations that the piece so far doesn't flow very well. but sometimes it just seems like that when you have made little sections and put them together, you cant be objective you know, hence the importance of the outside eye. we showed our slightly polished 20 mns to kevin and here are his notes.
• Chair organisation at beginning, not good. Change them around.
• Bit more characterisation at the beginning. What do we do if they don’t shake our hands.
• Find some dialogue, don’t fall back on the pointless chatter. (probably from early talkies.) Makes it a bit less improvisation.
• Close down on the material
• The smile song becomes quite mundane without characterisation.
• Gary’s speech is good. Don’t set up the toast
• When we turn down before the chair dance, its all ASSES, if we want that show them that we want that. Hold it for longer.
• The switch into the descriptions is odd. Still reading into the wake. EDITING.
• Get props for the descriptions. Doesn’t need to be ‘that’ object. Could use the food from the wake table.
• The dialogue feels to staged.
• The text on the string is good. But needs to be bigger!!! You need to show that your helping the audience along.
• Gary’s song odd choice. It’s a really strange shift, too shooting stars.
• The sign that says applause again jars. Is this about silent film or theatre? (CLEAN THINGS UP)
• Not sure why he should sit and watch us research. Need to know what we are investing in, what are we aiming for.
• Mary and the eyes?? Who is Mary and what about her eyes???
• What is it that keeps bringing us all to the front.
• The wake disappears. What was the point in setting it up at the beginning?
• What is the role of the microphone? What about a megaphone, a cardboard megaphone? Is the technology really important?
• Bring in the wives earlier on. The coat stand is odd. In the words of Kevin “It’s a friggin coat stand” however the image with Anna caressing the coat is really nice. The text here is also really nice.
• Choreography needs to be put in, in the sitting and waiting, if people aren’t in certain scenes.
• White curtain at the back is really nice.
• Should the table go all the way across the back.
• Not getting the French scene. The way the scene is set up the text doesn’t become very relevant. What is it all bout? However Anna and Lisa’s movement on the chairs is really nice.
• Why is Gary exercising? What is Gary’s purpose in the whole piece?
• We are trying to be a bit too cryptic, throughout the whole performance. It’s knowing what to spoon feed the audience.
• What if someone reveals the whole idea on chaplin as a mistake.
• Glenn text needs to get rid of the reference to the ‘smile’ lyrics.
• We all seem to be in the same place.
• Doesn’t know that all the material links to the ‘dead man’
• Who are Lisa and Jess describing the scenes for.
• Gary Piano Note – “Take your foot off that friggin sustain pedal”
• Our description could be going back to the wake. A lecturn, possibly, something that Lisa and Jess can keep going back too.
• The silent sections seem confused. We don’t know what there, there for. However they are really nice and have really nice moments.
• We don’t know what needs to be set up and what doesn’t.
• Generally we need to pay careful attention to everything. Modern music works well but the audience needs to understand.
A long list to fix... but honestly i think we know e would have to do a lot with it. i think we need to be carful of putting in improvised text in to fill silences myself Richard and gary are very guilty of this. I'm so scared of doing nothing on stage, i like to always be chatting away, and sometimes thats fine but in this piece its just not going to cut it.
I have to admit right now i feel odd about the piece. its much more subtle in its style than what I'm used to making. I'm so used to falling back on funny... and i think i believe to be funny in a piece you must be very extraverted... but i think if we try hard and with an audience this piece can be funny in its own quiet way. although i don't think everything needs to be a comedy i do think everything must be humorous to some extent. Chaplain was a funny man after.
Friday, 25 March 2011
Rehearsal 20-24
The role of the woman?
17/3/11 to 24/3/11
So for me these last rehearsals, have posed the question what is the role of the woman in the space? we have developed our roles of the children and we have all looked at there history. i am victoria one of the middle children she was 26 when her father died.
Oona's wiki sight helps fill in the numbers
http://en.wikipedia.org/wiki/Oona_O'Neill
in some way w are all trying to act as we think the children would have in the funeral, which is very odd as normally in our performances we try to avoid 'acting' so to speak. now however we have this new scene where the girls all try to woo a symbol of Chaplin ( as a comment on his popularity with the ladies). This is problematic though as now we are both sex interests and children to him... witch is straying into some what rocky territory. although we could justify it slightly as al ot of the women Chaplin married and or wooed were a little to young for comfort.
I suggested we steal an image i seen in another performance to show how much Oona missed the man she loved.
here is a trailer for 'Slava's Snow Show' where i took it from. its the part where he makes the coat come to life (sort of).
http://www.dailymotion.com/video/x1fit6_slava-s-snow-show_creation
we are continuing to play around with the texts ect.. we now have around 20mns of material. all just little snippets.
17/3/11 to 24/3/11
So for me these last rehearsals, have posed the question what is the role of the woman in the space? we have developed our roles of the children and we have all looked at there history. i am victoria one of the middle children she was 26 when her father died.
Oona's wiki sight helps fill in the numbers
http://en.wikipedia.org/wiki/Oona_O'Neill
in some way w are all trying to act as we think the children would have in the funeral, which is very odd as normally in our performances we try to avoid 'acting' so to speak. now however we have this new scene where the girls all try to woo a symbol of Chaplin ( as a comment on his popularity with the ladies). This is problematic though as now we are both sex interests and children to him... witch is straying into some what rocky territory. although we could justify it slightly as al ot of the women Chaplin married and or wooed were a little to young for comfort.
I suggested we steal an image i seen in another performance to show how much Oona missed the man she loved.
here is a trailer for 'Slava's Snow Show' where i took it from. its the part where he makes the coat come to life (sort of).
http://www.dailymotion.com/video/x1fit6_slava-s-snow-show_creation
we are continuing to play around with the texts ect.. we now have around 20mns of material. all just little snippets.
Thursday, 17 March 2011
Rehearsal 16-19
Finding the beginning
13/3/11 to 17/3/11
this week we were really focused on getting a beginning for the piece i think we are all (possibly foolishly) hoping that when we have the beginning the rest will just fall into place. That will not happen but still it is encouraging to think that way. from what kevin suggested we need to work on the way we used the chairs. we are thinking possibly all be in a line sitting and greeting the audience as they come in. Sort of resembling what really happens at the end of a funeral when the close family thank the guests for coming.
One questing we need to address is who are we in the space... why are we eight random people at Chaplin's funeral? we we thought and researched and i think we are going to try and all be one of his eight children he had to his last wife and love of his life Una.
I must admit i am slightly worried about this as it will be difficult not to 'act' in the traditional sense. but maby done a certain way this would not be a bad thing. we need to look at how we use the buffet table, i think even with this we still may need some kind of off stage area. but we will see.
I am very surprised at how well we are working together, i can honestly say there is no problems. we always have our out side eye. and if we suggest an idea we always try it, to try to see if it will work. we are lucky in that we all understand not to be precious about or ideas.
we also have been looking at a set structure for the piece. we are thinking it will have two world's or realms... the wake and the silent movie, our idea is that at first the two zones are very separate then as the piece develops the performers get lost and the two worlds join. we want the piece to start off calm and then gradually get more frantic... as frantic is something we all enjoy, (myself, Richard and Gary) more than the rest but I'm sure we will successfully compromise.
We also like the idea of the silent movie actor finding his voice, as a metaphor for Chaplin (the man) being lost to the 'tramp' character.
13/3/11 to 17/3/11
this week we were really focused on getting a beginning for the piece i think we are all (possibly foolishly) hoping that when we have the beginning the rest will just fall into place. That will not happen but still it is encouraging to think that way. from what kevin suggested we need to work on the way we used the chairs. we are thinking possibly all be in a line sitting and greeting the audience as they come in. Sort of resembling what really happens at the end of a funeral when the close family thank the guests for coming.
One questing we need to address is who are we in the space... why are we eight random people at Chaplin's funeral? we we thought and researched and i think we are going to try and all be one of his eight children he had to his last wife and love of his life Una.
I must admit i am slightly worried about this as it will be difficult not to 'act' in the traditional sense. but maby done a certain way this would not be a bad thing. we need to look at how we use the buffet table, i think even with this we still may need some kind of off stage area. but we will see.
I am very surprised at how well we are working together, i can honestly say there is no problems. we always have our out side eye. and if we suggest an idea we always try it, to try to see if it will work. we are lucky in that we all understand not to be precious about or ideas.
we also have been looking at a set structure for the piece. we are thinking it will have two world's or realms... the wake and the silent movie, our idea is that at first the two zones are very separate then as the piece develops the performers get lost and the two worlds join. we want the piece to start off calm and then gradually get more frantic... as frantic is something we all enjoy, (myself, Richard and Gary) more than the rest but I'm sure we will successfully compromise.
We also like the idea of the silent movie actor finding his voice, as a metaphor for Chaplin (the man) being lost to the 'tramp' character.
Sunday, 13 March 2011
A little note
I think now im going to do weekly entires or two a week i think it will be better because they will be more in depth. also it will stop me from falling behind.
Thursday, 10 March 2011
Rehearsal 15
Second Showing
10/03/11
So we showed kevin what we have developed we have started using chairs in a formation so that we have direct contact with the audience and we have the buffet table at the back. Im feeling a little lost at the moment but i can't quite put my finger on what i think is wrong. its very early days though so for now I'm just going with the flow as a have no real constructive criticism, i just don't know what the piece is suppost to be yet.
• Been sat at the buffet table is problematic. (Doesn’t read)
• Distance From Audience
• Generally a nice image
• The Smile music is ‘lovely’ could be the frame of the whole piece. Smiling is a way of hiding, could develop this in a way that could bring in the audience.
• Avoid the symmetry
• Need to establish a relationship with the audience. The ‘thanks for coming’ line was too soon.
• GET REAL COFFIN (I have a number I will ring on Monday)
• Anna don’t go under the table
• Objects on the table need to be looked at. (They must reference Chaplin)
• The table needs to establish itself as a table for a wake.
• “I love you” doesn’t fit. What is this about?
• Don’t give time to get in the coffin. It becomes a bob sledge
• The darker side of the piece must resonate more.
• Anna’s suicide could be built up. What is this investment.
• Need to find the line between performer and audience.
• Who’s wake is it?
• Define the rules of performance space and audience space.
• Are we thankful that the audience are there? And what are we thankful for?
• Idea of legacy and dying in our life and chaplins life is important.
• We are looking back at history to plan our future.
Things To Do –
• Make a structure
• Try out opening image
• Its Dark (go with it)
• What is our relationship and position in the piece.
• Look at the worlds reaction to chaplins death
• Add ‘emergency chairs’ everyone at different heights.
10/03/11
So we showed kevin what we have developed we have started using chairs in a formation so that we have direct contact with the audience and we have the buffet table at the back. Im feeling a little lost at the moment but i can't quite put my finger on what i think is wrong. its very early days though so for now I'm just going with the flow as a have no real constructive criticism, i just don't know what the piece is suppost to be yet.
• Been sat at the buffet table is problematic. (Doesn’t read)
• Distance From Audience
• Generally a nice image
• The Smile music is ‘lovely’ could be the frame of the whole piece. Smiling is a way of hiding, could develop this in a way that could bring in the audience.
• Avoid the symmetry
• Need to establish a relationship with the audience. The ‘thanks for coming’ line was too soon.
• GET REAL COFFIN (I have a number I will ring on Monday)
• Anna don’t go under the table
• Objects on the table need to be looked at. (They must reference Chaplin)
• The table needs to establish itself as a table for a wake.
• “I love you” doesn’t fit. What is this about?
• Don’t give time to get in the coffin. It becomes a bob sledge
• The darker side of the piece must resonate more.
• Anna’s suicide could be built up. What is this investment.
• Need to find the line between performer and audience.
• Who’s wake is it?
• Define the rules of performance space and audience space.
• Are we thankful that the audience are there? And what are we thankful for?
• Idea of legacy and dying in our life and chaplins life is important.
• We are looking back at history to plan our future.
Things To Do –
• Make a structure
• Try out opening image
• Its Dark (go with it)
• What is our relationship and position in the piece.
• Look at the worlds reaction to chaplins death
• Add ‘emergency chairs’ everyone at different heights.
Tuesday, 8 March 2011
Rehearsal 14
Buffet??
8/3/11
So we looked further at the long improv we did around a week ago. its hard because it was so long there was alot that we lost. but we have got a few things from it that we are trying to work wit. for example the Chaplin mannerisms and also silent move actions and gestures. we also are really liking the idea of having a buffet present through out. we all enjoy (rather oddly) the look of people eating on stage. also because there are eight of us it would give a good, almost of stage area because eight performers all on stage doing actions, may just be a little too much.
Although we are now thinking of always rehearsing with food... This will not be good for the diet.
8/3/11
So we looked further at the long improv we did around a week ago. its hard because it was so long there was alot that we lost. but we have got a few things from it that we are trying to work wit. for example the Chaplin mannerisms and also silent move actions and gestures. we also are really liking the idea of having a buffet present through out. we all enjoy (rather oddly) the look of people eating on stage. also because there are eight of us it would give a good, almost of stage area because eight performers all on stage doing actions, may just be a little too much.
Although we are now thinking of always rehearsing with food... This will not be good for the diet.
Monday, 7 March 2011
Rehearsal 13
I suck at dancing
7/3/11
after watching the silent films and talking with kevin we all agree that the vaudeville style should warrant a place in our piece. and I'm happy about this. Today we found a vaudeville dance routine and we took on the task of recreating it. we thought that as well as silent movie snippets in our our piece we could have sort of vaudeville style performances too. i don't think we will accurately reconstruct great dances of vaudeville though as today showed... sadly most of our group (myself included) have two left feet.
http://www.youtube.com/watch?v=SA6wYvVnq4g
7/3/11
after watching the silent films and talking with kevin we all agree that the vaudeville style should warrant a place in our piece. and I'm happy about this. Today we found a vaudeville dance routine and we took on the task of recreating it. we thought that as well as silent movie snippets in our our piece we could have sort of vaudeville style performances too. i don't think we will accurately reconstruct great dances of vaudeville though as today showed... sadly most of our group (myself included) have two left feet.
http://www.youtube.com/watch?v=SA6wYvVnq4g
Thursday, 3 March 2011
Rehearsal 12
Planned a Movie session
03/03/11
We know that if we want a silent movie theme throughout our performance, we need to watch some silent movies. Especially silent Chaplin films. So tomorrow we are having a Chaplin Pizza Party... Who said that students don't work hard.
http://www.youtube.com/watch?v=nH6pSLC3SyM
The above video is a section of a film with Chaplin, and one of his wives Lita Grey. Chaplin had alot of Women i his life... i think this is a fact we cannot ignore while making this piece.
03/03/11
We know that if we want a silent movie theme throughout our performance, we need to watch some silent movies. Especially silent Chaplin films. So tomorrow we are having a Chaplin Pizza Party... Who said that students don't work hard.
http://www.youtube.com/watch?v=nH6pSLC3SyM
The above video is a section of a film with Chaplin, and one of his wives Lita Grey. Chaplin had alot of Women i his life... i think this is a fact we cannot ignore while making this piece.
Rehearsal 11
First showing
3/3/11
3/3/11
We are still all researching Chaplin, through out I will put in my research as its own entry soon.
Today we used some of the material from our long improv and made a short five minuet section to show Kevin. It was all centered around a table at the back of the room. And we kept the idea of a coffin and a wake evident through out to see if Kevin like the possible fictional setting we were leaning towards.
Notes from Kevin’s Meeting;• Something interesting about the ‘gays’ dancing together.
• Anna sat under the table is redundant
• There needs to be value in what Jess and Lisa are doing
• Rufaro spelling out Tobacco was nice
• The interruptions become annoying
• The Charlie Chaplin material isn’t there
• lacks the dominance of silent films
• Rufaro ‘pumping’ looks odd
• Hugging Anna and the break being disrupted is nice
• Kevin didn’t know why he was feeling awkward
• Look into Vaudeville, the material feels like it is a group of vaudeville sketches
• The Chaos is not clean enough
• Setting the scene isn’t important
• The Jazz dance is really nice but didn’t go on for long enough and it is significant for that era
• Chaplin walk is odd but likeable and rather interesting
• Trying to hard, treat the material with a bit more respect
• Work on the shifts between the foreground and the background
• Skits (punch lines without the context)
• First ventures into film were Vaudevillian
• Recapture the early era of films
• Glens walk is good but after a while looses its impact, was better when he was doing it in the background.
• Look at the live and the mediated space
• Look at the story of the train in the cinema
• Look at how to make noise effects
The idea, of Chaplin’s walk being incorporated would be really great. I think it would subtlety lace the legends presence through out it.
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