Childrens Theatre - company research - 5th October 2016

https://vimeo.com/130504399

"Gecko is an award-winning and internationally-acclaimed physical theatre company, led by Artistic Director Amit Lahav.

A Gecko show is visual, visceral, ambitious theatre crafted to inspire, move and entertain. Gecko strives to make their work wide open to interpretation and put their audience at the heart of the narrative.

Amit has created an organic devising process that oscillates between intense periods of experimentation, making brave leaps, learning and failing and including choreography, writing, storyboarding and reflection. Every stage includes sonic and technical development alongside the choreography." - http://geckotheatre.com/about/ 

Gecko are a physical theatre company that experiment with many elements of dance, heavily influencing their performances. They also use sound effects and music in order to help tell stories and emphasise certain gestures. For example, in the video clip above at one moment two characters are in a argument and every time they 'say' something a gun shot sounds. Symbolising the verbal attacks and 'shots fired' between people when they argue. It also emphasises the damage an argument can do in a metaphorical sense by using the gun shots. Gecko also tend to perform on the darker side using surrealist elements and dark lighting and costumes. Creating a tense, uneasy atmosphere. The way in which they produce/create their performances is over two years. They take a very productive approach and develop the show whilst touring. They also use elements of puppetry.

I like their use of sound and music in their performances as I feel it gives another layer to the production, making it aurally engaging. I also like the constant theme of surrealism they seem to have throughout all of their productions, making them stand out from other companies making them unique and interesting.

-They are supported by the Arts Council England and are based in Ipswich-

Complicite - https://www.youtube.com/watch?v=uba-qzbZsV8

Complicite are an international theatre company situated in London.

"The main body of work has been of devised theatre pieces and adaptations and revivals of classic texts but the Company has also created opera and worked in other media, with radio productions of Mnemonic and John Berger’s To The Wedding, a collaboration with The Pet Shop Boys in Trafalgar Square in central London, and The Vertical Line, a multi-disciplinary installation performed in a disused tube station." -  http://www.complicite.org/company.php

"The Company is famous for making its work through extensive periods of research and development which brings together performers, designers, writers, artists and specialists from diverse fields to create the works – a process now known simply as ‘devising’." - http://www.complicite.org/company.php

They use puppetry in order to help tell stories. Their productions often involve the use of technology. For example cameras, projectors/projections, as well as lyrical and philosophical contemplation of topical/serious themes in the world. They tend to focus more on drama and comical elements but use techniques of dance in order to make it interesting.

Their staging and use of set colour/design is a strong element. I feel as though this helps set the scene and encourages enthusiasm by the actors. It also helps the audience with visuals.

Frantic Assembly - Based in London

"We began with little more than a fierce work ethic and a desire to do something different and to do it differently." - https://www.franticassembly.co.uk/about

"Frantic Assembly has always been about more than the work on the stage. It is about the ethos of collaboration, of empowerment, of that constant desire to improve. It is about telling stories in a voice we don't always hear and about finding talent in places we don't always look. Over the years the Frantic Method of devising theatre has helped people understand and make work throughout the world." - https://www.franticassembly.co.uk/about

Steven Hoggett is their choreographer who has won many awards such as an Olivier award and an Obie award.

Frantic create their pieces in a unique way as they start with the movement first then craft a narrative/performance track from this. They tend to devise their pieces rather than focus on scripts. By doing so they tend to be very multi-medial. For example, they use music, dance and visuals in order to help tell the story other than just dialogue. They also contain elements of breaking the fourth wall and encourage audience participation.

DV8 -

https://www.youtube.com/watch?v=gNjE53Pt4WQ

DV8's approach to theatre is heavily through dance. Earlier in their work they tended to use aggressive, physically wearing movements. However, as the company progressed they started to use more poetic movement and used dialogue in order to help tell stories and talk about important social/political issues in the world. DV8 do this by using fluid, contemporary movement whilst speaking. Its almost entrancing which makes you pay close attention to the performer and you are hung on every word they are saying. Its gentle movement that tackles the censorship of important issues and topics in the world. Such as: sexuality, terrorism etc. DV8 are an award winning company, that has toured internationally attended many festivals as well as producing films for the BBC and Channel 4.  Physical Theatre company based in London.

I personally really like their style of physical theatre and think its very effective and clever in terms of talking about political/social issues. By making it visually engaging to an audience which may in other scenarios not be interested. The use of fluid, gentle movements psychologically make the audience more open and welcoming to ideas which may be presented to them.

Kneehigh Theatre - https://www.youtube.com/watch?v=OiM3whG9Oxs

Kneehigh are a physical theatre company based in Cornwall. Their performances tend to be very site specific. For example, they used to perform on top of cliff tops, in quarries and up trees. Until fairly recently they have found their home at the 'Asylum' where they also perform shows. Kneehigh get their inspiration for their shows from history, culture, people and landscapes. Kneehigh use a variety of techniques in their physical theatre. They tend to mainly focus on drama but add elements of dance into it to make it more exciting. They also use elements of puppetry as well as live musicians on and off stage. This makes Kneehigh multi-medial. Their stages tend be very elaborate and contain dark elements making it feel surreal.

I like the use of live musicians onstage as well as the darker elements throughout as it gives a different tone and atmosphere to theatre. It makes you feel engaged with the performance itself and you feel as though you are connected to the story as you see every part. Their use of puppetry is interesting as they even though its a surreal element they make it seem so realistic by the way in which they use movement and voice/sound.

"We create vigorous, popular theatre for a broad spectrum of audiences, using a multi-talented group of performers, directors, designers, sculptors, engineers, musicians and writers. We use a wide range of art forms and media as our ‘tool kit' to make new and accessible forms of theatre. A spontaneous sense of risk and adventure produces extraordinary dramatic results. Themes are universal and local, epic and domestic."

Rank order

1. DV8

2. Kneehigh

3.Frantic

4. Gecko

5.Complicite

Childrens Theatre - Dr Seuss - 5th October 2016

In this lesson we explored what attributes made physical theatre. We then came up with individual definitions of what we thought physical theatre was to them come to a conclusion as a group.

Physical theatre: movement used in order to help tell a story. Elaborate movements that can use element of dance. Highly stylised.

We then were given a random Dr Seuss poem and had to find the other person who had the same one. We then had around 10-15 minuets to devise a short physical theatre piece that included: Pace, Repetition and Exaggeration. Me and my partner had 'The Nook' poem.

We tackled this task by first reading the poem a few times and understanding the story that was being told. We also took this time to structure how we were going to perform the poem itself. During rehearsal we were initially doing a chunk of lines each and then the other person would mime whilst this was happening. However, we decided that it would be confusing to the audience of which character/object we were portraying. So then we decided that we should read every other line between us.

For repetition, we repeated the first line twice. We did this in order to create a humorous tone and to establish characters really quick within the piece. For example, Naomi would say 'we took a look' and look around where I would then walk away to the other side of her acting oblivious. She would then repeat this phrase then carry on to say 'and saw a nook' looking and pointing at myself.

Our elaborate gestures were references to the objects in the poem. For example, the book. Naomi herself became the book and her arms were the pages in which I would turn. As well as the hook on my head being a bright red feather which I pointed to and bowed down to the audience in order to draw attention to it.

Our pace was slightly slower than normal. This was to ensure that the audience understood every word we said as well as to draw emphasis on certain words. Particularly the words that rhymed i.e. Nook, Hook, Book, Cook.

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I believe our physical approach to the piece was good as we used our whole body either to become objects/characters or to perform elaborate/big gestures. Such as 'we took a look' we crouched low, put our hand to our forehead and swayed to the right. To symbolise searching/looking. This was effective as it was visual and supported the dialogue we were saying at the time.

I believe our vocal approach was appropriate to our piece as we didn't want to lose diction and projection trying to make it entertaining. Therefore, we spoke clearly and almost patronizingly slow in order to exaggerate but still make it audible.

EBI

I believe we could have worked on characterisation a little better. For example, establishing a certain mannerism or posture in order to differentiate between characters/objects. Therefore, making it easier to identify who the poem was about.

I also believe that we could have been a little bit more experimental with gestures and movement. For example, moving around the space a little more and perhaps adding a movement phrase to a particular word. However, I believe we did well considering we had limited time to construct and then perform.

Our second task was to do the same but with a longer piece of text. A full story to be exact. Again we were randomly given one of two scripts and that formulated our groups.

Again with this task the group I was in decided to take a very physical approach. For example, we had two people being the characters then the rest of us were objects/scenery/narrators. We approached the task by instantly being proactive and working through each page blocking it trying to memorise the lines as we went. We didn't use any staging as we felt it would be more visually engaging if we were the staging itself. i.e. We were the trees in the forest. We became the bikes and boats etc.

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I believe my vocal approach was strong as I spoke with enthusiasm and emphasis in order to create pace and interest in the dialogue being performed. I also believe it helped add an excited/shocked tone to the scene in the early stages when we were discovering the true storyline of the piece. For example, when I said 'and then they moved' I spoke in a higher pitch and breathier tone in order to create suspense and tension.

I believe our physical theatre approach worked well as it meant we were all on stage at the same time and we all had an important part to play. Whether we were talking or not. I believe it made us feel immersed ourselves with the performance and made us understand it better. It also made us feel more energised and I felt we had more enthusiasm as we were constantly involved doing something.

EBI.

I believe we could of made our piece better if we used more of the stage space. For example, in rehearsal and in performance we tended to stick to one side of the stage rather than perform centrally. Therefore, at particular moments we were in lack of space and therefore meant that some scenes were squished and cramped.

I believe that if we cut out some scenes/pages from our script than we would have been able to perform the whole of the story. As we only got halfway through before having to stop as we hadn't blocked the next part. If we had cut out bits then we would have been able to tell the whole story and still have made it interesting using physical theatre.

Personally, I feel that I need to contribute a little more to decisions made by leaders of the group. Adding input into directorial advice as that is where I feel I am at my strongest - blocking ideas that have been made.

Childrens theatre - Fairytale lesson September 29th 2016

To prepare for this lesson we had to re-write a fairytale we knew well from memory. Whilst doing so we had to include the five sense into the story. i.e. Sight, Smell, Hear, Taste, Touch. This would therefore add extra details in the story which may not have been known before. I chose to re-write 'Jack and the Beanstalk'. I added things such as the date and weather into my story. As well as giving characteristics to the smaller characters. For example, the man who gives Jack the magic beans, I explained what he was wearing and the creepy grin he had plastered on his face.

How we put this into practice was we got into two groups of six and read our stories to everyone in the group. Once we had done this we were then split again in our groups of six into two groups of three and combined whichever stories we had together into one new story. In my group we had Charlottes - Little  Red Riding Hood. Naomi's- Goldey-locks and the three bears' and my 'Jack and the Beanstalk' We decided to also give our fairytales a modern twist. In our piece we also used big elaborate gestures in order to make it visually interesting as well as using other forms of arts/media such as singing.


This was how we constructed our story including all of the fairytales.

Our scene

Charlotte and Naomi are arguing about something and I walk shiftily towards them. I say my names Jack and that they have something for me. Beans. Naomi and Charlotte mull it over then agree as long as my character gives them something in return. A car and some bread. It then transitions into the next part of our fairytale combo which is linked with Goldey-locks.  After eating the beans I go to three grandma houses. First one is crazy and sings a lot. The second smells too much and the third is just right. I then sit in the third grandmas house and pretend to be said grandma. Little red then comes knocking on the door. Little red does the traditional, asking questions with a little twist. i.e 'you're hair is so conditioned. You're looking a little large. You have really big teeth' Then I admit that I'm the wolf.

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I feel as though our approach to the task was good as we used elaborate gestures and spoke clearly and confidently so that everyone can hear us. For example, we would emphasise certain words more than others if we were using them in a humorous way. For example, when we were doing the exchange and talking about 'beans' we emphasised 'beans' itself and then the branding. This worked in our favour as people recognised the tone we were aiming for and thought it was funny from how we were performing it.
Personally, I feel my characterisation at the beginning of the scene where I had to act shifty and nervous was really good. As I included mannerisms and 'habits' as to what my character would be feeling/would act in the particular situation they were in. For example, I was constantly looking around and moving my arms. Whether it be rubbing my arms, wringing my hands or fiddling with the back of my neck etc.

EBI
I feel our narrative was a little unclear as to what characters we were. Particularly me as I introduced myself as Jack but I was the Wolf by the end of the performance. I feel as though this could be improved by a prop or piece of costume that I either put on or took off. To symbolise the change in character.
Another way in which we could improve our performance was adding more staging in order to outline certain places and/or objects. For example, we only had two chairs on stage to symbolise the granny houses. I feel we could of made it more visually engaging by adding stage blocks in order to create levels. I,e. using the levels to establish between different stories. i.e. creating a stage two stage blocks high, then one, one stage block high and then the ground floor.

Dance Lesson 3 - fight phrase 30th September 2016

In todays lesson we got back into our pairs and had to produce a little aggressive fight scene in which we held connections for as long as possible. For example, if I help onto my partners arm we would have to do as many moves after that as we could without breaking the connection.

Here was our first attempt at creating the fight phrase:

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We used quick fluid movements which created pace and kept to the theme of aggression in this piece. For example, when I did the spin into the crouch it was a very fluid transition. Therefore, making it look smooth and finished. Another way in which it went well was our use of formation as we didn't stay in exactly the same place all the time. We travelled and crossed paths making it visually engaging for the audience. We also attempted to create levels to show dominance in certain characters. For example, when Lois pushes on my back to jump over. We felt like this could be a sign that her character had more power than mine.

EBI
We could work on our connections more as at the moment they are lasting about a second or two before we are creating new connections. We need to hold onto them longer in order to fit the brief. For example we could add moves that are closer together as we keep distancing ourselves at the moment. Meaning our connections are getting shorter and shorter.We also need to relax more and think less about how we connect and more about how we can make it look more like a realistic fight phrase. As at the moment it still looks very much like contemporary dance rather than a sharp, jerky, violent movement.

We then combined our fight movement phrase with the other devised phrase we created the week before. Here we changed our fight phrase as we felt we could make it better than our first attempt.

https://www.youtube.com/watch?v=0_Fcsz50FAs&feature=youtu.be 

WWW - second attempt at the fight phrase
In our second attempt we managed to create connections which lasted longer that contained two or more moves. For example, when we spin and hold our hands together we manage to hold that connection for two moves without breaking. Which for us was an achievement. Therefore, achieving the brief slightly better than in our first attempt. Personally, I feel as though my extensions have improved since the first dance lesson. For example, when I stretch my arms out they are now straight and outstretched rather than slightly bending and halfway stretched. Meaning, my dance is getting more fluid and smooth each week. Therefore, meaning my performance level is increasing. Also in this version we are stablishing more aggressive moves. For example, pushing each other away or pulling each other around. This creates more of a tense dramatic tone to our performance meaning we are also fitting the brief better.

EBI
I believe we could still add more onto our fight motif to make it longer. For example, adding some connections where we move in sync together for a few moves and then break into the next connection. This could be done where me or Lois could hold each others arms or wrist as there are multiple joints in the arms/wrists which can be moved in more ways to allow longer connections. Therefore, creating longer, possibly better looking fight phrases. Also I think we still need to relax more into the idea of connections and experiment more with levels and different connection points rather than worrying about if it looks particularly interesting or whether its quick. As we can work on visuals and speed when we are finished and happy with our outcome.

Childrens theatre - lesson 27th September 2016

Main objectives of the lesson

• To develop our storytelling skills
• To understand the importance of storytelling
• To deliver and expand on the story for performance
• To relate our skills/stores to childrens theatre

Storytelling: Is the act of transferring information either verbally or physically through text to another individual or group. Using many techniques such as: Voice changes, gestures,music,facts,fiction etc.

Forms of storytelling

• TV - Drama/soaps/news/documentaries/adverts
• Music Lyrics/videos
• Books
• Films
• Plays
• Artwork
• Poetry
• People
• Adverts

In the beginning of the lesson we came up with personal definitions of what we thought storytelling meant and what techniques factors they may or may not use. Then we had to think of 3 stories that we had already heard today. Whether it was directly from someone or whether we had overheard a conversation. We spoke back to the group about them and discussed a few in detail. This was to warm us up to the idea that stories are all around us and how we may not notice everything consciously but rather subconsciously.

Next, we got into groups and went through a day over the weekend. Listing things we did, and at what time we did them. Our group then asked us questions relating to our 'day story' in order to find out more details in order to make the story more engaging and factual. Giving it a better basis and content.

Once we had listened to everyone in the group we then combined the most interesting parts from each of our stories and put them into one giant story. Our group decided to take a very physical approach to the task and become objects ourselves aswell as creating sound effects. For example, Charlotte became an alarm clock. Harry was a light and Saphire was a TV. This added humour into our piece which we thought was appropriate and would suit Childrens theatre. This is because it creates a lighter tone in the piece and relaxes the audience.

When telling a story:

• Basic details
• Questioning
• Establishing
• Combine stories
• Add voice + movement
• 5 Sense

Childrens theatre - fairytale

Once upon a time there was a lonely widow and her son Jack. Jack was a young boy who spent his days playing imaginary games and thinking about how life would be if he had all the money in the world.

On a crisp, cold November morning the widow went up to jack whilst he was cleaning out the cow pen in the old broken wooden barn and told him that they needed to sell her in order to get some money for food. Jacks face fell and he looked to the ground where dirt and stray pieces of hay were laying. He shuffled his feet looked back into his mother’s eyes and nodded with a sad smile. Jacks mother left with a swift glide and the squeak of the door signalled her exit. Jack lent on the cold wooden fence and looked into the warm brown eyes of his fellow companion. He didn’t want to say goodbye but he knew that times were hard already and if they kept her they would get a lot harder. Jack put on his jacket, grabbed some rope that was draped over a wooden beam and tied it round the cows neck. He took one last moment sighing deeply as he did before he left the barn to begin his journey.

The sun was nowhere in sight and the clouds covered it like a blanket of snow. The bitter wind nipped at Jacks skin and ruffled his hair. The only sounds which could be heard were the scuffing of his shoes and the clipperty-clop of the cow’s hooves. As he walked along the dirt track, worn in my carts and horses. He came across an old man. This old man was tall, wore a long thick black coat and had a peculiar smile etched on his face.                                                                                                                                                                                         “Hey young fellow, what are you up to?” The old man asked cheerily bending down slightly.                                                                                                                                                                                                                  

“I’m off to sell my cow sir” The old man’s eyes lit up and he reached into his pocket.                                                                                                               

“How would you like to sell her for these five beans?” Jack frowned at what he saw in the man’s hand and brushed it aside.                                                                                                                                                                           

“No, thank you sir. I best be on my way” Jack slightly pushed past the old man followed by his cow. The old man was a little taken back but kept the smile plain in his face.                                                                                

“These aren’t just any beans my boy. These are…..magic beans” Jack stopped in his tracks and glanced over his shoulder at the old man.                                                                                                                                    

“Magic beans? Why should I believe you?” Jack questioned looking at the man suspiciously. The man straightened up.                                                                                                                                                                               “From these beans a giant beanstalk will grow and reach up to the sky. If this does not happen I will give you your cow back” Jack pondered for a moment but gladly took the magic beans.

Jack went home and showed his mother the magic beans. She was beyond furious. She shouted at Jack and in the process threw the so called magic beans out the window and sent Jack to his room. Overnight the beans had begun to sprout and at a pace too.

The next morning Jack woke up and looked out his window at the cool morning sun. Jack was stunned. There in front of him was a giant green beanstalk. Jack tried to see the very top but he couldn’t. Jack became very excited. Once dressed he rushed downstairs, put on his shoes and began to climb the beanstalk.

Once at the top Jack came across a giant castle with a giant door. Jack walked up and knocked. No answer. Instead of waiting or coming back later Jack decided he would slide underneath the door and enter the castle. Jack was mind blown by everything. He was so surprised at how big everything was compared to him. Suddenly the floor began to shake violently and loud thumping started to occur from down the hall. Jack ran for cover underneath a nearby table.                                                                              

“Fee fie fo fum, I smell the blood of an Englishman” Jack stayed hidden and waited for the giant to move. Jack had never seen something like that in all his life. Once the giant was far enough away Jack crept out of his hiding place and went to leave. That was until he spotted something glinting in the sunlight. Jack moved closing. It was a sack of gold coins. Jacks had a smile which ran from ear to ear. Jack took the gold coins and ran out the castle and down the beanstalk.

Once on the ground Jack showed his mother the golden coins. She was so happy but shocked at the same time.

Jack went up again to the giant castle in the sky to collect more gold coins. Whilst he was searching for coins he came across a goose. He stopped and stared at the goose for a minute until suddenly it laid a golden egg. Jack was astonished. He stood for a moment before deciding that he would take the goose back to his mother so that it could lay them golden eggs every day. Sure enough Jack went down showed his mother the goose that lays golden eggs and again she was surprised.

The next day Jack again climbed up the beanstalk to the castle and entered inside. Jack was quietly creeping when he heard a monstrous snore. The giant was asleep. Jack took this opportunity to explore the castle as he had previously not been able to. As Jack was wondering the halls he could hear the most beautiful music he had ever heard. He followed the melody down the corridors and into a room with dark red curtains and a single round table. On this round table was a golden harp sweetly singing its glorious tunes. Jack was entranced. He graceful glided up to the table, climbed up and stood in front of the harp. Jack could not take his eyes off it as it was playing so wonderfully. He thought to himself that he should take this back for his mother so that they would have beautiful music to listen to. As Jack picked up the harp, the music stopped and it began to scream.                                             

“Help Master! A boy is stealing me!” Suddenly there was a loud thud and quickening footsteps. Jack began to panic and quickly jumped down the table harp in hand. He had no time to wait. Jack ran as fast as he could down the corridors and out the door. The giant however, wasn’t so far behind.

Jack began to furiously scramble down the beanstalk trying to keep hold of the harp and stay away from the giant. Once jack had reached the bottom he put down the harp and ran into the barn. He frantically looked around for anything to help him. He had to get rid of the giant but he didn’t know how. Suddenly in the corner of his eye he spotted an axe hanging on the wall. He ran over picked it up and ran back outside side. He glanced up at the beanstalk to find that the giant was already a third of the way down. Jack used all his strength and hacked at the base of the beanstalk. Swinging and hacking. Hacking and swinging. Until there was an ear-splinting thunderous crack. Jack looked up to see the beanstalk slowly start to sway. Then lean over and fall. There was another thunderous thump which sounded the fall of the beanstalk and the death of the giant. Jack sighed with relief, picked up the harp and went inside to show his mother and to tell her that everything was going to be okay from now on. And they all lived happily ever after.

Dance - lesson 2 - Gestures - 23rd September 2016

In todays lesson we explored 'gestures' and the connotations behind them. For example whether they are positive or negative. We did this by first creating  a mind-map of gestures which we use in our every day lives. We then discussed these as a group. For example, what they meant or when we'd use them, and then added them to our map if we didn't have them.


After this we then got into pairs and devised a dance piece which was heavily influenced by gestures. The stimulus for the dance/movement piece was 'meeting/friend greeting' etc.

We initially wanted to have an aggressive meeting but didn't want it to seem to violent. Therefore we thought of a structure. For example, we don't meet on great terms. Then as it progresses we try to see eye-to-eye and sort out our differences. Eventually, it ends like it started with an aggressive movement as we cant see past our differences and don't change how we feel.  

Our piece starts with a 'windmill' action ending with two backhand slaps. This is a very aggressive movement and suggests that this is not a friendly meeting. At multiple points during our performance our movements are in unison and are the same. However, they may either be in the opposite direction or of an mirror image. This suggests that we try to get along but cant seem to meet in the middle and are still set in our ways. This is shown when we hold hands but lean away from each other and where we cross paths towards the end of our piece. Our movements are very strong and sharp throughout creating a tense and bold atmosphere.

WWW.
I think the structure of our dance was good as it started and ended with the same emotion - aggression. Started and finished with very elaborate and strong movements. For example, beginning with the backhand slaps and ending with the fast arm swing. I also think that our synchronisation was particularly good as we stayed in time with not only the music but with each other. Meaning that the dance progressed and moved at the same speed making it look far more polished than if it wasn't. I also think our use of Indian hand gestures and the fact we managed to incorporate them into our piece was good. For example, we used the hand gesture Alapadma. This shows that we took into account our stimulus as well as our overall inspiration - 'Faultline'. Meaning our piece was linked to traditional Indian dance as well as modern day gestures.

EBI

Personally, I feel as though I need to continue to work on my extension of my arms when doing certain moves. For example the second move we perform I need to extend my arms out straighter and longer in order to make it seem more fluid and strong. I feel as though I also need to work more slightly on my special awareness in order to make sure I have enough room around me to successfully perform certain moves. For example, when we enter our end move I am a little to close to my partner meaning I have little room to move my arm. If I take a larger step I will have more room in order to make it a stronger more powerful swing. We could also play around with speed and dynamics a little more in order to vary movement phrases, making it visually more interesting.

We then brought together all our movement phrases as a class and took parts from different people in order to create a whole new phrase altogether. (still in progress)

Childrens theatre - lesson 2 - crisis on the Island

In todays lesson we were put into two groups and had to act out a crisis on the Island. One group was for the crisis trying to make it worse/succeed. The other group were against it and trying to help prevent it.

Basis of scene - For the crisis
Gathered to a group meeting. Discussing how to get off the island away from the other people. Came to the conclusion of 'sinking' the island. There was a 'plug' to the island in  which we would pull in order for it to sink. We did this but it only sank half(?) of the island. When we reached the other side we realised we sank the wrong part and were still with the other residents.

What worked if performed to a younger audience?

During our performance we used elements of humour throughout in order to make it interesting and engaging to younger audiences. For example, we did the classic 'run the opposite direction to where you're supposed to go'. We also over exaggerated certain gestures in order to hopefully make it humorous. For example, breathing in and looking hopeful then dropping and quietly muttering shaking our heads. By doing this we are giving hope then taking it away, in a way in which is not bad but is slightly subtle but known. We believed this could be humorous as its the idea of we were going to say we had a solution and had ideas but really we were just there because we were called and didn't really have anything to input. We also used very simplistic language during our piece. For example, when answering questions we kept it very brief and very short. For example, when answering about how we should sink the island we had answers such as: "flowers" "swim" and "the plerg". This is to ensure children wouldn't get confused and wouldn't get bored with waffle-y dialogue. Also with 'The Plerg' we made sure our reactions were big and visible as well as when replying making it higher and confused. We felt that this was a well used and known technique when performing/producing content for children and would gain the audiences attention as the pitches in our voices would have changed quickly and drastically. In our performance we also had limited props which meant our staging was simplistic and we had to use certain props/staging for multiple things. This meant we and the audience would have to use imagination in order to make sense of what we were doing. We felt that this was good as it got to exercise the creative side to the audience and ourselves and would encourage them to get involved/lost in our story.

What would need to be developed?

I feel as though in our piece what would need to be developed would be our interaction with the audience. We would either need to physically involve them/immerse them in our performance or break them fourth wall in order to have their input. This would make it more engaging for the audience and more enjoyable as they would be taking part rather than just sat watching a piece of drama. We also need to structure the narrative better and possibly add a few more details into the story. For example, suggest why we don't like the other residents and why we want to get off the Island so bad. Therefore, understanding the narrative better and making it more believeable. Personally, I feel as though I need to work on my character, Alix Caser. For example, I need to give them more elaborate characteristics or emphasise certain traits in order to make them more suitable for childrens theatre. As, at the moment they are very realistic and seem to be more for an older audience. I also feel that we could experiment with our staging a little more or make it a little more structured. As, we didn't really move anything which meant we were in a very closed space and therefore didn't seem to travel around the space much. I feel that if our staging was slightly more sparse we would have more space to do elaborate and exiting gestures and possibly progress the narrative.

The Other Group

I feel that the other group were strong in terms of characterisation. You could tell instantly the traits of each character and what distinguished them from one another. They held strong presence and you could tell the relationships between certain characters. I felt that this would be good for children's theatre as strong characterisation is key when interesting and captivating a younger audience.

I feel as though narrative may be a possible thing to develop as we only really saw a discussion about the crisis. We didn't see a resolution or progression in movement. I also feel that like ours, interaction would need to be developed. Whether that's breaking the fourth wall or physical audience participation.

Childrens Theatre (lesson 2) - venues and companies

Tell Tale Hearts - theatre company

"Tell Tale Hearts devise and deliver participatory touring theatre productions exclusively for primary children and younger years in schools, theatres and community venues" - http://www.telltalehearts.co.uk/about/

"Combining installation, performance, music, projection and puppetry we put children at the heart of our highly visual productions. Through a unique mix of creativity and interactivity we aim to give children the opportunity to experience a magical and multi-sensory world of theatre in different environments" - http://www.telltalehearts.co.uk/about/

Tell Tale Hearts theatre company use a variety of techniques and approaches in order to make their productions unique and engaging for children. Such as: puppetry and music. This makes it surreal for the audience and create a multi-sensorial environment.  They tend to perform productions that are well known by children themselves. Such as: fairy tales or adaptations of films aimed at kids. For example, they are currently doing: Snow White and Inside Out. This means that children are more likely to enjoy a piece of theatre if they can connect with a memory or a piece of knowledge they possess.

Hullabaloo Theatre - theatre company - http://www.theatrehullabaloo.org.uk/about-theatre-hullabaloo/

"Theatre Hullabaloo is a pioneering organisation that’s all about making, touring & promoting theatre for young audiences, aged 0 – 16 years old, because we believe that they are the most important audience of all.

We create pioneering work which puts the young person at the heart of the creative process.

Our work is driven by the belief that young audiences have an entitlement to theatre of the highest quality which inspires the imagination and challenges the mind." -http://www.theatrehullabaloo.org.uk/our-shows/

Hullabaloo theatre company understand the importance of theatre for younger audiences and how it impacts them. They understand how from 0-6 years is the most crucial time in a childs life as it is the time when they are most influenced by creative atmospheres. Therefore, they try to adapt existing stories into productions or create new pieces all together. This subconsciously introduces the idea of creativity to the child. They also understand the hardships of growing up and therefore try to incorporate mature themes into their productions in a way in which children will understand. They are also a registered charity.


Production Houses -
National Theatre - Based in London is an example of a 'Production House' as they produce and perform their own plays. For example, when it comes to children's theatre they host a number of different workshops for different age groups. Such as: A programme for year 1 students known as 'Theatre First'. Where they get to experience different aspects of theatre and eventually build up to a performance which they do at The National itself.

Trestle -North of London, south of Luton. "Trestle is a mask and physical theatre company, with a highly regarded arts education programme. As a charity, our mission is to engage children, young people and adults in creative activity, which aims to enhance the cultural quality of their experiences." - http://www.trestle.org.uk/about-trestle/

Trestle are highly regarded and one of the leading providers for teacher training, participations programmes and school workshops in the UK. Trestle tend to do a lot of adaptations of known stories and tell them in their own way. Involving physical theatre and puppetry. This creates a unique style of theatre and entices many different audiences for different reasons. Trestle have also worked with 'Unicorn Theatre' on multiple projects such as 'The birthday of the Infanata' and 'The Snow Queen' - which was directed by Trestle. Trestle target all age groups from young children all the way up to adults.

Childrens Theatre (lesson 1) - Creating characters and a world

In this lesson we discussed as a group what it meant when a piece of theatre is classed as 'Children's theatre'. What aspects were different and what factors were engaged or changed.

Here is what we decided 'Children's Theatre' entailed:

• Comedy - This is usually portrayed through 'over the top' acting and emphasising little moments such as an agreement or disagreement and making facial expressions more visible.
• Five senses - Touch, taste, see, hear and smell. By engaging with these senses it makes the performance multi-sensorial and immerses the child completely in the performance.
• Morals - Usually the aim of a piece of theatre is how to overcome a particular problem or issue. For children's theatre this is usually to do with acceptance and/or discrimination in a lighter tone to which they understand. This is important as it teaches them important lessons but in a fun, active environment.
• Simpler Language - Language used needs be simpler and easy to understand for all ages. This is because they are still learning and know basic forms of language. As well as using simpler language, actors tend to talk slower and clearer in order for the child to understand.
• Audience Participation - Involving the child in different ways such as: breaking the fourth wall encourages children to engage with the performance and also makes it more interesting for them. It also helps to immerse the child in the performance and take them into another world where they can relax and have fun.
• Enthusiasm/positivity -  Actors need be enthusiastic and positive when performing to children in order to encourage them to participate with the performance. This can also help some members of the audience relax and build confidence. Having a positive atmosphere reflects on the child's mood and therefore would make it more enjoyable for them.
• Elaborate staging - Such as oversized props or sets. This helps to create a world in which the child can get lost in the story.
• Bright colours and colourful lighting - This intrigues the child and adds to their attention span if there is lots to look at. Bright colours usually creates positive emotions and a positive atmosphere.
• Multi-media - this is the use of music, projections, films and pictures in order to help tell the story. By using more than one form of media it makes it more visually and aurally engaging.

After this we then created another world. Specifically an Island. We started off with the basic things you would need in order to live and then we added more imaginative possibly surreal structures.

Each of then created an individual character and talked about where they live, where they went and who they associated with.

My Character:

Name: Alix Caser

Age: 19

Occupation: Traveller

Where do they live: They aren't homeless but they prefer to camp out every night in a new location in order to understand the Island and also to meet new people along the way.

Where do they work: They spend some of their free days helping out at Wonder World as they are such a sociable person that they can talk to anyone. They like to walk about and find new places. They like to sit by 'Glitter River' and sketch scenic pictures. They associate with Flutter and Holly Glitz and get along well with them. Alix has a very positive approach to situations and tries to keep a positive atmosphere wherever they may be and with whoever they are with. They don't have many friends but it doesn't bother them too much.

Here is a picture with all the residence on:

Dance lesson 1 - 15th September 2016. Unit 50: Movement in Perfromance

Unit 50: Movement in Performance - Dance

What is a stimulus?

·         A starting point for ideas, phrases, movements etc.

·         A starting point.

·         Something to react to.

Types of Stimuli

·         Visual – Picture/photo

·         Text   -   Book, song lyrics, poems, script

·         Aural  - Music, sound effects, dialogues

·         Concept/theme – Hate/War/Black history month

                                                                                                                                        

Initial stages of our dance inspired by Shobana Jeyasingh. Based on Indian dancing called Bharatanatyam. We can tell this from the use of elaborate hand gestures. Our main influence is the piece ‘Faultline’ which contains themes alongside: gangs, aggression, violence, rebellion, belonging etc.

WWW - In our group performance I felt as though our formations were interesting and dynamic in      order to make it visually engaging. For example, we started facing on a diagonal in the formation of a diamond. We then managed to keep this formation throughout our entire piece only changing at the end where we run off different ways. For example, I am at the far point of the diamond and I run forward past Megan who was the first/front point of our diamond. I felt that this was successful because we didn’t break our formation during performance and therefore presented a strong initial opening. Also in our group performance we found that when we were in time with each other our unison was on point, and therefore was a strong aspect for us and a good start to our piece.  

EBI – Personally, I feel as though I need to work on my fluidity when dancing and extension of my arms and legs when performing in order to create a more convincing portrayal of themes. Such as: aggression, gang culture and violence. For example, when we do jump spins or fast arm movements I tend to pull my arms in and create speed rather than outstretch and slow down. This is clear when I go into my jumps as I tend to land and finish that movement before other people meaning that I am out of time with the others and therefore move onto the next movement phase before the others. Therefore, this is a crucial point where I need to extend. If I fully extend my limbs I feel as though this will then improve the quality of my dancing and help me relax into dance and perform more fluidly.

Even though parts of our piece were in time with each other not everything was. Therefore, we plan to progress through this and work on moving together by figuring out an 8 count beat(?) where we will constantly be counting and therefore be able to come in at the same time to improve our synchronisation. This will also help us create pace so we are constantly moving forward rather than staying on a specific move for too long.