Variety presentation and script

Post audition prep

• Character: Angie
• Character Profile: Best Friend, opposite to Billie, well spoken, posh
• Developing character voice/accents - I'm going to take a posh approach to my character in order to create a contrast between the two best friends. This will be done to create humour and comedy between the two.
• vocal work/songs - I will work on both a chavy and a posh accent in order to see which accent works better with group dynamics and audience appreciation. With vocals I will tend to keep a high-ish pitch but will have a low overall appearance.
• self evaluation/the role - I believe that this role will be a challenge as I have never attempted this sort of character. However, I will approach the character and characterisation with an open mind ready for adaptation.
• Professional approach to casting/scene - me and Megan have a good relationship in class and outside. Meaning we will have a good onstage chemistry between our characters.

counter melody rehearsal warm up and how it impacted our rehearsal of 'Our House'.

Dance Show + WWRY evaluation: Unit 50 Movement in performance

In the dance show I performed a aggressive, rebellious gang member. That represented the themes of: violence, rebellion, aggression and possibly hatred. This meant that when I performed, my movements had to be sharp and jerky to emphasise the emotions without the support of unnecessary dialogue. In order to show these themes I performed traditional aggressive hand slaps and strong curled hang gestures known as mudras gestures specifically the lotus/flower gesture. I did this at various points throughout the dance including solo, duet and group motifs.

I also created levels at various points in our piece such as: when we performed the duets. Specifically my duet with Megan halfway through the piece. There was a point where she was looking down on me as I did a roll to the side creating levels between us as characters and showing that at the particular moment she had a stronger dominance over my character. This could represent the theme of manipulation as she was holding my hand making me roll/turn. This was to show the power my character had over others as well as the weakness they had when faced by a stronger individual.

Another moment where I showed the theme of identity/rebellion could be seen in my solo motif, as it is completely different from everyone else and is unique to myself. I chose to create my solo consisting of mainly rolls on the floor to show that my character was lower in terms of ranks and dominance however, was very agile and very adaptable to change. Therefore, meaning that my characterisation may not have been as bold as some peoples but was still relating to my characterisation.

My contribution to the whole piece was mainly at the beginning in early stages of choreography. Me and my partner Lois were a key element when teaching people certain phrases and motifs as we could pick them up very quickly and pass them on in a clear way. I felt that this was very helpful when introducing and easing in the idea of 'Shobana Jeyasinghs' Faultline piece.                  

During 'Faultline' I kept a strong posture and a good sense of co-ordination. This can be seen in the very beginning scene where I roll then I have to stand and walk backwards into position to then complete the unison phrase. If I did not have a good sense of direction/alignment/co-ordination I would have been out of place and possibly put off other dancers around me.

Throughout the whole piece I managed to perform a gang influenced and Faultline inspired dance. I felt as though my strengths were timing and alignment. This is because I can count the beats in my head and keep the majority of the performers in my peripheral vision. This was to ensure that if the class were performing slightly quicker or slower than normal I would adapt my own movement to make sure that it didn't look odd with different timings. I felt as though my extensions of my arms had improved from previous rehearsals to create a better visual and physical movement. This can be seen in my duet with Lois.

In order to improve my movement in dance pieces I need to relax into the piece more and believe that I am able to perform the movements choreographed. For example, at the very beginning I wasn't able to extend my legs and roll neatly like the other dancers as I was worrying too much about the shapes I was making and whether or not I would be able to do them. By relaxing into the piece I will automatically perform smoother motifs which will need less improvement with technical difficult. I also need to work on my rolls, specifically the way I execute them as I tend to roll very quickly and don't give myself enough time to get in a position to stand up smoothly. This can be seen in my duet with Megan as it takes me slightly longer to stand up which then means we are ever so slightly later in terms of executing our next movement phrase.

WWRY movement evaluation - Radio Gaga

In WWRY I played a variety of characters. The one I felt most pleased with was when I was a Gaga kid. Whilst playing this character I had to keep the theme of being a robot and 'under control'. To show this I kept a blank expression and wide, opens eyes. I did this to show the lack of individuality and the amount of power my character has been supressed to. This also meant that my gestures were robotic with jerky, strong arm movements and defined points to a movement phrase. This also meant that I had to extend all of my movements in order to make them seem non-naturalistic and robotic. One particular moment where I felt this was shown was in the dance 'Radio Gaga'. In this piece especially I felt that my character was very vibrant even though they had been brainwashed. I felt that my movements were robotic and well extended to create a convincing performance.

My contribution to this piece again was teaching movement phrases to the other members of the cast. This is because me and my partner Megan were fast learners and picked up the piece very quickly meaning we could teach people who were struggling. Particularly the duet phrases as we often had to do opposite movements to one another which some people found confusing.

+(8np)



Audition preparation - 'Our House'

In order to prepare for my audition for 'Our House' the musical I am going to take various approaches. Such as general research about the production itself and personal development in terms of potentially going forward for a character that I necessarily haven't/would not have gone for before. 


For example, I will/have watched the production of 'Our House' in order to understand the story line and structure of the piece. I will listen to the soundtrack on its own to single out certain songs I may want to consider to audition with. These will range from songs I am comfortable singing (ballads) to ones that I primarily don't tend to sing.




In order to show professionalism I will take a mature and focused approach to my audition making sure I give each aspect of my audition detailed attention so that the whole audition is equally confident and rehearsed.






Character Prep:








Sarah - In order to prepare for my audition for Sarah I will take inspiration from various other actresses performances in order to establish key factors and elements they all use. Possibly using them in my own interpretation. I will also possibly emphasise certain emotions/traits that may be subtle in other performances. For example, I would possibly exaggerate her love for Joe when he is in Prison and then when he comes out. I will also practice speaking in a slower more longing way.










Reecy/sarcastic friend (girl/boy) - In order to prepare for these roles I will listen attentively to the faster songs as they tend to have more involvement in them. I will also inhabit a lively, fluid characterisation in order to make an interesting/enjoyable character to portray. I feel that I would be able to bring an excitable vibrant personality to these characters if given the opportunity to play them. That would bring a breath of fresh air to the role and potentially the cast and narrative.






















Set - Camden

Unit 11 Theatre for Children Assessment Feedback

SUMMATIVE ASSESSMENT RECORD SHEET
Programme	BTEC Level 3 in Performing Arts (Musical Theatre)		Learner Name	Jennah Costan	Assessor Name	Rachel Maddix
Unit No. & Title	Unit 11 – Theatre for Children		Target Learning Aims	1 Know how to research, select and refine suitable material for children’s theatre 2 Be able to devise and shape material for children’s theatre 3 Be able to perform in children’s theatre.	Assignment Title	Primary Performance
Issue Date	10/10/16		Interim Submission Date	8/12/16	Final Submission Date	30/1/17
Target criteria	Criteria Achieved Yes/No	Final Assessment Comments
P1	/	You described the suitability of material for a children’s audience
M1	/	You explained the potential and suitability of material for a children’s audience
D1	/	You analysed appropriate material for children’s theatre, with creative ideas for developing its potential
P2	/	You developed and shaped material for children’s theatre responding to ideas offered
M2	/	You actively shaped and developed material for children’s theatre, offering creative, realistic and appropriate ideas
D2	/	You shaped with commitment the material for children’s theatre, showing an appreciation of what can be effective and appropriate for performance
P3	/	You performed a role in a piece of theatre for children using performance or production skills competently.
M3	/	You performed a role in a piece of theatre for children using performance or production skills confidently.
D3	/	You performed a role in a piece of theatre for children using performance or production skills with confidence, interpretation and flair.
Summative comments
You achieved D1 by evaluating source material making imaginative suggestions for how it could best be developed to meet the needs of the target audience. You achieved D2 by making an enthusiastic and focused contribution to the development process. Your ideas and suggestions were imaginative and inventive showed a firm understanding of the key elements of children’s theatre and the needs of the target audience. You achieved D3 by demonstrating a proficient and creative use of performance and production skills showing imagination and a feel for the nature of the piece. Jennah, you achieved the strongest possible grades across the board. You were an energised, imaginative contributor, with strong directorial ideas and clear understanding of the genre, supported by well researched and informative analysis – Well done. Distinction

Unit 3 Devising Plays Assessment Feedback

SUMMATIVE ASSESSMENT RECORD SHEET
Programme	BTEC Level 3 in Performing Arts (Musical Theatre)		Learner Name	Jennah Costan	Assessor Name	Rachel Maddix
Unit No. & Title	Unit 3 - Devising Plays		Target Learning Aims	1 Know how to use stimulus material 2 Know how to develop and shape ideas 3 Be able to rehearse for a devised performance 4 Be able to perform devised drama.	Assignment Title	Devise & Revise
Issue Date	10/10/16		Interim Submission Date	08/12/16	Final Submission Date	30/1/16
Target criteria	Criteria Achieved Yes/No	Final Assessment Comments
P1	Y	Respond to a range of stimuli, revealing creative ideas
M1	Y	Respond to a range of stimuli, revealing awareness of their suitability for devising and performance
D1	Y	Respond to a range of stimuli with imagination, revealing a clear and creative grasp of their suitability for devising and performance
P2	Y	Develop chosen ideas and materials for devising
M2	Y	Develop chosen ideas for devising, using insight and imagination to demonstrate a detailed response
D2	Y	Develop chosen ideas and materials for devising in a perceptive and comprehensive manner, demonstrating a thoroughly considered, insightful response
P3	Y	Demonstrate cooperation with other members of the company, making contributions to the group process
M3	Y	Demonstrate cooperation with other members of the company in the devising process, making useful contributions
D3	Y	Demonstrate a high degree of positive cooperation with other members of the company in all aspects of the process
P4	Y	Develop devised performance through rehearsal, with support and guidance
M4	Y	Develop devised performance through rehearsal, with minimum support and guidance
D4	Y	Develop devised performance through rehearsal, with thoroughly imaginative and independent application
P5	Y	Perform a devised theatre piece that communicates ideas to an audience.
M5	Y	Perform a devised theatre piece that accurately communicates its intentions to an audience and shows awareness of its style.
D5	Y	Perform a devised theatre piece that accurately communicates its style and intentions, fully engaging with the audience.
Summative comments
D1 & D2 You identified and suggested alternative ideas for development in your blog, revealing a clear and creative understanding by explaining why it is suitable for performance. You were also able to communicate your ideas effectively and evaluate your work. D3 & D4 You responded positively to group ideas with enthusiasm. You demonstrated a high degree of support for other group members by asking relevant questions to extend original ideas from others. Your blog included comments on the process and used references to research. D5 You performed a devised theatre piece accurately communicating its style and intentions to the target audience. You were able to show excellent use of voice, body, materials and props to communicate your ideas, fully engaging the target audiences from local primary schools. Jennah, you made a consistent effort throughout both rehearsals and performance ensuring that any group you worked with were motivated. Your engagement levels and the ability to contribute new and innovative ideas was a real strength. You provided evidence of your progression with understanding at every stage of the process making a strong start to your analytical blog work - Well done. Distinction