The Show
Kids In Camps
In rehearsals, I found that our ideas were changing from lesson one to the day of the show. At first it was big changes such as where the scene is set or who the characters are. Nearer the show little details changed or were added to help build the depth of the scene.
It was also a challenge to rehearse without an audience because we had to consider how much space they would take up, as well as predict where they will move. We did not know for definite until we were doing the performance, which involved the whole group thinking on their feet.
There is quite a lot of background research needed before we started creating the performance because we did not want to stereotype or offend anyone. It was hard to find enough research which is relevant to allow us to base our performance on fact.
The Space, which is the room our scene was performed in, is very large, and as a group we found it hard to utilize the space well.
Another challenge the whole group has faced from the beginning is the many voices. As directors, Amelia and I found it a challenge, which I believe we rose to, to listen to all the voices in the group and take into consideration all ideas. Some had to be cut because they were not logical in the space we had or the time frame in which we had to make the production.
When shaping the material we were going to use, we had to find topics which we knew we could expand on. It was hard to find first hand stories from what our production is about and our ideas were constantly changing. Some parts were changed because they did not work, or broke the flow of the performance, or we had found a new topic which we wanted to explore.
We had to build a certain amount of information to support our performance and help to build the layers in the devising process. We also wanted to use different techniques such as multi-media, physical/gesture theatre, immersive and sensory, which I believe we achieved.
We originally started with the idea of homeless youth telling the audience stories as they sat at a soup kitchen. This was set in England. However, our idea changed to street kids in India because we did not have meaningful enough ideas. This gave us a lot more to explore and it was more connected with the audience, as immersive theatre should be.
The whole cast realized how real these problems are because of the current news, which did make everyone realize that this is a serious topic and a lot of thought has to go into it.
It took a long while to decide how we would move the audience around the space. We originally thought that we would let the audience wander around themselves but then we realized that audience members can be sheepish and not want to move into the space. Also, we had no clear ending which would make the audience leave, so the group changed it so that the audience are moved around in the washing line, which also stops them from seeing the whole of the space and directs the attention of the audience to the scene which is happening there.
The performance went very well with only a couple of mistakes. The audience had quite a few stragglers, which were dealt with very well by the tour guides and British homeless children. The first performance we did only lasted 5 minutes, so the next 4 we extended the oranges scene and the performance lasted longer. The washing line did begin to fall apart in the last performance so the cast had to adapt to make it last until the end. The last audience went 'aww' when the oranges scene happened because they felt empathy towards the story of the two girls. Later, at the photograph scene, they also felt empathetic towards the girl who was having to experience something which is so far away from their everyday life.
The end of the whole performance went well because everyone sang with a strong force behind them. I was confident when I went and found an audience member. I felt my performance was strong and I am happy with the result of our scene. I have had to listened to many voices, compromise/ be resourceful and edit ideas. Although it has been a long process, I definitely feel a sense of satisfaction and achievement.
During the devising process, I have learnt that you must always keep an open mind to new ideas and not stay fixated on one path. This is important because there is a lot of information to process in the performance and often there is a clearer way of portraying it or your idea does not fit with the developing ideas or logistics of the performance. In simpler terms, the devising process is a journey and you do not know what is around the corner, so you must keep your eyes open as you step into the unknown. 10 minutes is too short a time to cover every thought, idea and fact which we have found, therefor we had to focus on detail and depth and not skip over important information.
The set and props were one of the last things we had in our performance, other than our audience. I think this is because the different parts of the scene demanded different things of the set.
At the beginning we had a clear idea about what our set would be, however, as we put more thought into our performance and performance ideas we thought less about the set.
I think the most important thing for me in this performance has been commitment. As co-directors, Amelia and I have both seen that the most committed people have contributed the most to this performance, both in ideas and the performance. I have been fully committed during this module because otherwise our performance would not have been powerful and affect the audience. At the beginning I was too fixated on certain ideas and I later realized that the performance will not move on if we are not open to a range of thoughts. There have been times during the performance process when I felt like we were not getting anywhere and the performance was not developing, however, if i could go back and tell myself one thing, it would be to keep going.
Wednesday 16 December 2015
Thursday 10th - Week 6
Thursday 10th December 2015
During the rehearsal on the previous day we went through the whole piece, however we did not have a very constructive rehearsal because we did not have access to all our props. After everyone went home, Amelia and I stayed to make a start on the set so that the next day in rehearsals we would not have to waste time. In the end we spent about 3 hours on the set that afternoon.
The oranges stall
Multi-media
the 'home' used for the oranges scene which Amelia and I made
Amelia and I came in early that morning as well so that we could try and finish building the set, so that when it came to rehearsals our group would be able to start straight away. When the lesson began, the whole group finished making the set and we saw the whole performance come together. We used newspaper to cover the 'home' for the oranges scene. To fill the empty space, we created a pile of cardboard boxes and LED candles to build on the atmosphere. The room still seemed a little empty, so we added many plastic bags which helped to fill the space. We also had lighting which helped to create the atmosphere of the scene.
The whole performance was then rehearsed which allowed everyone to practice the timings of their scene. We decided to have Amelia, Aaron, Esme and myself go and interact with the audience as soon as they entered the room to kick start the performance.
At the end of the lesson, the whole class learnt a song which would be part of the ending to the whole performance.
The lyrics:
Be one in the technological age
Be one in the technological age
De de de defenses against
De de de defenses against
Nature's nature's nature
Nature's nature's nature
Whilst we are performing the song, we are looking into the audiences eyes, telling them they are responsible for what they had seen in the rest of the performance. Once we have sung the song twice, we walk forwards, take an audience member by the hands and ask "what did you want the world to be when you were younger". From there we can ask the audience some more questions and then, to finish, we say "you are powerful" and we walk away, but looking back, keeping a connection with the audience members and the performers.
I was looking at devising theatre companies and I found 'Off Balance's' production of Robin Hood.
I really liked the change of scale in the performance as well as the use of a small space to create the performance in. The group obviously worked well as a team and their timings were brilliant in the physical theatre.
During the rehearsal on the previous day we went through the whole piece, however we did not have a very constructive rehearsal because we did not have access to all our props. After everyone went home, Amelia and I stayed to make a start on the set so that the next day in rehearsals we would not have to waste time. In the end we spent about 3 hours on the set that afternoon.
The oranges stall
Multi-media
the 'home' used for the oranges scene which Amelia and I made
Amelia and I came in early that morning as well so that we could try and finish building the set, so that when it came to rehearsals our group would be able to start straight away. When the lesson began, the whole group finished making the set and we saw the whole performance come together. We used newspaper to cover the 'home' for the oranges scene. To fill the empty space, we created a pile of cardboard boxes and LED candles to build on the atmosphere. The room still seemed a little empty, so we added many plastic bags which helped to fill the space. We also had lighting which helped to create the atmosphere of the scene.
The whole performance was then rehearsed which allowed everyone to practice the timings of their scene. We decided to have Amelia, Aaron, Esme and myself go and interact with the audience as soon as they entered the room to kick start the performance.
At the end of the lesson, the whole class learnt a song which would be part of the ending to the whole performance.
The lyrics:
Be one in the technological age
Be one in the technological age
De de de defenses against
De de de defenses against
Nature's nature's nature
Nature's nature's nature
Whilst we are performing the song, we are looking into the audiences eyes, telling them they are responsible for what they had seen in the rest of the performance. Once we have sung the song twice, we walk forwards, take an audience member by the hands and ask "what did you want the world to be when you were younger". From there we can ask the audience some more questions and then, to finish, we say "you are powerful" and we walk away, but looking back, keeping a connection with the audience members and the performers.
I was looking at devising theatre companies and I found 'Off Balance's' production of Robin Hood.
I really liked the change of scale in the performance as well as the use of a small space to create the performance in. The group obviously worked well as a team and their timings were brilliant in the physical theatre.
Friday 11 December 2015
Monday 7th - Week 6
Monday 7th December 2015
After Friday's rehearsal the group were feeling more confident about our performance. However, when we were asked to perform it in front of our class, without an audience to take around and without the set, we felt out of our comfort zone. Our performance demands a certain amount of set and without it, we felt as though our peers would not see the meaning of the performance.
This really knocked our confidence again, which became an obstacle because the show is on that Thursday.
We then went to The Space and spoke through our performance ideas. As well as organizing another rehearsal for the day before the show to help us practice the piece and begin to set up.
Devised theatre is what is created when a group of people come together and create a performance, using a range of creative techniques. It often has a meaningful thought as the driving force of the production. Devising is a whole process, which does not just mean the final performance but instead the whole process of how you got to the end product. You could describe it as creating a person. You start with the bones ( initial research ), once you have that you can build a bone structure ( which sometimes is too weak, so you have to find a stronger structure, involving changing your piece) . From there you add muscles and vital organs ( main events and ideas which drive the piece). The flesh is the finalizing layer of your piece so far and the details are the small parts which complete your performance. Every piece of devising is different, so you are not always creating a human, sometimes a different animal is necessary for what you performance based on.
When you work on a scripted performance, there is already a skeleton, which you need to build flesh onto. This means there is already information about the characters and the plot given, however, with a devised piece of work, you must build the skeleton structure for yourself. I find the devising process more challenging because you must have background and detailed character research, the same as a scripted piece, however, on top of that you must have solid facts and research to support your performance. I found it hard to do detailed research on the characters because I was having to put more energy into supporting the whole idea for the performance and, as director, the whole group in the development of the performance.
This video looks like the gesture theatre activity, which we did in one of our rehearsals, put into a performance.
After Friday's rehearsal the group were feeling more confident about our performance. However, when we were asked to perform it in front of our class, without an audience to take around and without the set, we felt out of our comfort zone. Our performance demands a certain amount of set and without it, we felt as though our peers would not see the meaning of the performance.
This really knocked our confidence again, which became an obstacle because the show is on that Thursday.
We then went to The Space and spoke through our performance ideas. As well as organizing another rehearsal for the day before the show to help us practice the piece and begin to set up.
Devised theatre is what is created when a group of people come together and create a performance, using a range of creative techniques. It often has a meaningful thought as the driving force of the production. Devising is a whole process, which does not just mean the final performance but instead the whole process of how you got to the end product. You could describe it as creating a person. You start with the bones ( initial research ), once you have that you can build a bone structure ( which sometimes is too weak, so you have to find a stronger structure, involving changing your piece) . From there you add muscles and vital organs ( main events and ideas which drive the piece). The flesh is the finalizing layer of your piece so far and the details are the small parts which complete your performance. Every piece of devising is different, so you are not always creating a human, sometimes a different animal is necessary for what you performance based on.
When you work on a scripted performance, there is already a skeleton, which you need to build flesh onto. This means there is already information about the characters and the plot given, however, with a devised piece of work, you must build the skeleton structure for yourself. I find the devising process more challenging because you must have background and detailed character research, the same as a scripted piece, however, on top of that you must have solid facts and research to support your performance. I found it hard to do detailed research on the characters because I was having to put more energy into supporting the whole idea for the performance and, as director, the whole group in the development of the performance.
This video looks like the gesture theatre activity, which we did in one of our rehearsals, put into a performance.
Thursday 3rd - Week 5
Thursday 3rd December 2015
During this lesson we began to rehearse, first by beginning to build our set. We realized that the transitions in our piece were not working and could be quite distracting because we did not draw enough focus towards then place where we wanted the audience's attention.
Poppy, Mia, Ruby and myself went to a music room to record voice overs which we would then edit and use in the performance as a different media techniques. There will be one outside the room which says "thank you for travelling with Emmeritz airlines. We hope you enjoy your stay", which will be played before Mia and Rio speak to the audience as tour guides. this will be played through speakers which are inside a cardboard box. The other audio says "the next flight to Florida will be leaving in one minute. please make your way to departure gate 418". This will be played after the physical theatre piece with Charlie and Ruby. After the audio, Mia and Rio will escort the audience out, We chose departure gate 418 because that is the room that the audience will see 'Camp America's' performance in, which is based in Florida. This is not something which the audience will pick up on, however it is a small detail which helps to connect the whole performance from the performers perspective.
When we came back to the room, we got ready to do a first run through of the whole performance with all the scenes. In this run through we had a small audience made of our theatre teachers who were taken around by the British homeless children. This rehearsal was really useful to see what we needed to improve. The transitions were definitely something that needed working on to both make them smoother and because the audience will be reluctant to move in the space, so they would need guidance. The piece we had created so far was good, however, not beautiful as piece of theatre should be.
By beautiful, I mean the details, the flow, the connection between the audience and the the performance and the energy which drives the whole piece. Although were were using many different theatrical techniques, we did not have a driving energy which is meant to bring the piece to life. Our performance seemed disconnected and too structured with the meaning of the whole performance being lost. This caused group to feel unsure about the performance and so we organised a rehearsal for the following day.
During this hour and a half additional rehearsal as a group we collectively decided that the audience will be moved around the space in the washing line for the whole performance, not just the beginning. In a performance which demands the audience to move around the space, there are usually stragglers or reluctant audience members. We decided that the washing line would help us to keep the audience as a whole group as well as helping to create the busy feel of a packed Indian street. It also blocks the rest of the room out which will help us to draw the audiences attention towards the scene, stopping them from getting distracted.
To make sure everyone has a performance role, the washing line members are going to say relevant facts at the end of each transition eg. facts about homeless children at the oranges scene, facts about child trafficking at the traffickers scene.
The oranges scene will now take place in a different layout. We placed one of the white corner stands on its side, so we ould fit under it. Then, with two people lifting it up, it looks as if the audience are seeing a cross section of where some street children live.From there, Amelia and I will perform a small scene showing us eating the oranges, not seeing the audience. To get to this scene, I steal some oranges from Aarons stall and run to the 'home'. this triggers the transition of the washing line. Mia and Rio will then pick up the box to show us and then to exit the scene onto the next transition I will say " i saw the American tourist again" and Amelia will reply with "Camera lady! should go and steal her camera, we can sell it for glue" and then she runs out. Mia and Rio close the 'home' and the transition leads straight onto the next scene. Esme's trafficker character will be a photographer who takes pictures of Indian street children. This fit much better and to exit that scene, Amelia will steal the camera and run away. If we create the camera to come apart it cold then smoothly become drugs which the street children will be taking under the physical theatre piece. We decided to change the context of the physical theatre piece so it is no longer lovers but instead a father who has lost his daughter. He begins by asking the audience weather they have seen her, then he spots her taking drugs with other street children. Charlie will climb up onto the platform, lift ruby up and the physical theatre piece will then take place. To finish that piece, ruby will go back down to the street kids because the addiction drew her back. Then the audio will play and the audience will leave.
During the whole performance we will have Indian street traffic sounds, which will only stop when we have the physical theatre because we will then use an Indian lullaby.
The traffic:
The lullaby:
During this lesson we began to rehearse, first by beginning to build our set. We realized that the transitions in our piece were not working and could be quite distracting because we did not draw enough focus towards then place where we wanted the audience's attention.
Poppy, Mia, Ruby and myself went to a music room to record voice overs which we would then edit and use in the performance as a different media techniques. There will be one outside the room which says "thank you for travelling with Emmeritz airlines. We hope you enjoy your stay", which will be played before Mia and Rio speak to the audience as tour guides. this will be played through speakers which are inside a cardboard box. The other audio says "the next flight to Florida will be leaving in one minute. please make your way to departure gate 418". This will be played after the physical theatre piece with Charlie and Ruby. After the audio, Mia and Rio will escort the audience out, We chose departure gate 418 because that is the room that the audience will see 'Camp America's' performance in, which is based in Florida. This is not something which the audience will pick up on, however it is a small detail which helps to connect the whole performance from the performers perspective.
When we came back to the room, we got ready to do a first run through of the whole performance with all the scenes. In this run through we had a small audience made of our theatre teachers who were taken around by the British homeless children. This rehearsal was really useful to see what we needed to improve. The transitions were definitely something that needed working on to both make them smoother and because the audience will be reluctant to move in the space, so they would need guidance. The piece we had created so far was good, however, not beautiful as piece of theatre should be.
By beautiful, I mean the details, the flow, the connection between the audience and the the performance and the energy which drives the whole piece. Although were were using many different theatrical techniques, we did not have a driving energy which is meant to bring the piece to life. Our performance seemed disconnected and too structured with the meaning of the whole performance being lost. This caused group to feel unsure about the performance and so we organised a rehearsal for the following day.
During this hour and a half additional rehearsal as a group we collectively decided that the audience will be moved around the space in the washing line for the whole performance, not just the beginning. In a performance which demands the audience to move around the space, there are usually stragglers or reluctant audience members. We decided that the washing line would help us to keep the audience as a whole group as well as helping to create the busy feel of a packed Indian street. It also blocks the rest of the room out which will help us to draw the audiences attention towards the scene, stopping them from getting distracted.
To make sure everyone has a performance role, the washing line members are going to say relevant facts at the end of each transition eg. facts about homeless children at the oranges scene, facts about child trafficking at the traffickers scene.
The oranges scene will now take place in a different layout. We placed one of the white corner stands on its side, so we ould fit under it. Then, with two people lifting it up, it looks as if the audience are seeing a cross section of where some street children live.From there, Amelia and I will perform a small scene showing us eating the oranges, not seeing the audience. To get to this scene, I steal some oranges from Aarons stall and run to the 'home'. this triggers the transition of the washing line. Mia and Rio will then pick up the box to show us and then to exit the scene onto the next transition I will say " i saw the American tourist again" and Amelia will reply with "Camera lady! should go and steal her camera, we can sell it for glue" and then she runs out. Mia and Rio close the 'home' and the transition leads straight onto the next scene. Esme's trafficker character will be a photographer who takes pictures of Indian street children. This fit much better and to exit that scene, Amelia will steal the camera and run away. If we create the camera to come apart it cold then smoothly become drugs which the street children will be taking under the physical theatre piece. We decided to change the context of the physical theatre piece so it is no longer lovers but instead a father who has lost his daughter. He begins by asking the audience weather they have seen her, then he spots her taking drugs with other street children. Charlie will climb up onto the platform, lift ruby up and the physical theatre piece will then take place. To finish that piece, ruby will go back down to the street kids because the addiction drew her back. Then the audio will play and the audience will leave.
During the whole performance we will have Indian street traffic sounds, which will only stop when we have the physical theatre because we will then use an Indian lullaby.
The traffic:
The lullaby:
Wednesday 2 December 2015
Monday 30th - Week 5
Monday 30th November 2015
In this lesson, we finalised out beginning and end so that they are clear for the whole group. Last week I thought that because our audience will be coming from the Syria scene, that before they enter, there would be an announcement saying "thankyou for flying with Emmeritz airlines we hope you enjoy your stay" and because they follow on from us to the Camp America scene, our ending will be "The next flight to Florida will be leaving in one minute, if you would please make your way to departure gate 418".
Their piece is also in room 418 and we thought that would be a nice detail to include even if the audience do not notice it. In the lesson we wrote the scripts we would use for the voice overs. We then worked on the opening few minutes and neatened them up, having one of our teachers and fellow cast members as audience members. This really helped to properly envisage our ideas for the final performance.
Amelia led an activity of creating a soundscape ourselves in the moments leading up to when I steal the oranges from Aarons stall. It worked well and we have decided that we may incorporate the idea in out final performance. This would mean that we would be including visual, audio and naturalistic techniques in our performance.In the lesson, Lili gave us some relevant poems which she had found. We are going to have them copied and hand written and stuck onto the wall.
As directors, Amelia and I have decided that we will try to have another out of lesson rehearsal so that we can spend more time on our scene and there are also individual parts which need extra time to devise and direct, so we will have individual rehearsals for them. I think that the issues that have occurred over the past week may have lost us some time, however, after they were resolved, the group overall worked a lot more efficiently.
Props:
In this lesson, we finalised out beginning and end so that they are clear for the whole group. Last week I thought that because our audience will be coming from the Syria scene, that before they enter, there would be an announcement saying "thankyou for flying with Emmeritz airlines we hope you enjoy your stay" and because they follow on from us to the Camp America scene, our ending will be "The next flight to Florida will be leaving in one minute, if you would please make your way to departure gate 418".
Their piece is also in room 418 and we thought that would be a nice detail to include even if the audience do not notice it. In the lesson we wrote the scripts we would use for the voice overs. We then worked on the opening few minutes and neatened them up, having one of our teachers and fellow cast members as audience members. This really helped to properly envisage our ideas for the final performance.
Amelia led an activity of creating a soundscape ourselves in the moments leading up to when I steal the oranges from Aarons stall. It worked well and we have decided that we may incorporate the idea in out final performance. This would mean that we would be including visual, audio and naturalistic techniques in our performance.In the lesson, Lili gave us some relevant poems which she had found. We are going to have them copied and hand written and stuck onto the wall.
As directors, Amelia and I have decided that we will try to have another out of lesson rehearsal so that we can spend more time on our scene and there are also individual parts which need extra time to devise and direct, so we will have individual rehearsals for them. I think that the issues that have occurred over the past week may have lost us some time, however, after they were resolved, the group overall worked a lot more efficiently.
Props:
The props we still need to source are:
Baby
MORE RUBBISH CARDBOARD AND LITTER
MORE POSTERS AND DRAWINGS
Large rubbish bin
Stage blacks clothes
Brightly coloured tshirts for tour guides
voiceover and soundscape
ragdolls
rice
boardings passes
india flyers
Sunday 29 November 2015
Thursday 26th - Week 4
Thursday 26th November 2015
At the beginning of the lesson we spent an hour and a half speaking about the whole performance. This gave the whole class a chance to speak about and understand the picture of the whole performance. We also had to work out the minute to minute timings:
I spoke for my group to the whole class about the structure of the whole piece and the role of the audience, which we had decided will be tourists. The whole piece will begin by the sound of an airport and and an announcement saying "thank you for flying with Emeritz airline", which will be pre recorded.
The above photo helped me to see the performance as a whole.
During the lesson we received the structure of the performance. The audience we receive are coming from the 'Syria' scene, it was my idea to use an airline which goes to eastern countries. Also, the audience will receive a booklet/ map of India by an air steward so they know where they are without it being specifically stated.
After the whole class had discussed ideas, we began to set up our scene, collecting cardboard from the recycling bin and working out how we can create the set.We later worked on the last part with the gesture theatre. It worked really well and we made a lot of progress because everyone had an input of ideas and also listened to and interpreted others ideas.
Amelia and I realized that the only thing which has been consistent in our performance is having the trafficker character. In our soup kitchen idea we still had the trafficker, now we have traveled half way around the world and everything has changed and adapted to the task and the cast.
In some of my reaserch i found this video. I had not realised that so many children were made homeless each day. https://youtu.be/SZvokDa9AkU
I have contributed many ideas during the devising process. Some of these have been what airlines to use linking our scene to the whole performance, having the oranges scene which is including naturalism theatre in our piece. Amelia and I thought of the idea of having Mixed media on a wall with photos and images and stories relating to the scene we are doing. I came up with the idea of having rag dolls. I had the idea of having a 'community' of street children. This was inspired by some research that I did, where it said how dangerous it was for homeless youths to be alone on the street because they are subject to sex and human traffickers and other dangerous people and how if they stay together, it is easier for them to survive. From this came the idea for who the trafficker takes. We already had the character of the trafficker from one of our original ideas, however, now the child she targets is the only child who is alone in the scene. When we decided that the audience's part in the scene is as tourists, I had the idea that we hand them a small map of India, therefor we do not have to state where they are and it uses different techniques. We later developed this idea so that the audience would be given a map of India on one side and a 'boarding pass' on the other. During the lesson we thought that we could have the sound of a baby crying in a box. I suggested that the sound could be coming from a phone because we could not work out how to make have the crying sound playing during the performance. As well as having to cut ideas from the scene because they are not working, the majority of my ideas have been small details and ideas which complete and tighten the scene of the Indian homeless children.
During this rehearsal we lost 2 of our scene characters, who are now going to be acting as British homeless children who take the audience from scene to scene during the performance. This did throw the group a little, however, we quickly adjusted and began on our work. During the lesson we finalized a props list as well:
At the beginning of the lesson we spent an hour and a half speaking about the whole performance. This gave the whole class a chance to speak about and understand the picture of the whole performance. We also had to work out the minute to minute timings:
1-2= Mia, Rio and Esme lead the audience in and Aaron is at the food stall
*At the moment we still do not have a method of entering the room whilst staying in character which needs working on next time. Esme will need to tag along at the back and not be noticable.
3-4= Zafra steals the oranges and takes them back as well as the washing line being dropped
*Needs polishing as every time some part of it goes wrong however it is a good method of transporting the audience.
5-6= Gesture theatre dance piece leads into the box opening and child being trafficked (Esme and Amelia trafficking and Poppy, Lili and Ruby for the gesture piece)
*Trafficking scene needs to be longer and should involve the building of tension using a soundscape
7-9= Charlie and Ruby dance on top of boxes to show a girl being taken off the streets and see that other life whilst the commuinity of homeless children lie below (Zafra, Poppy, Aaron, Lili, Ruby at first, Aaron)
10= exit
I spoke for my group to the whole class about the structure of the whole piece and the role of the audience, which we had decided will be tourists. The whole piece will begin by the sound of an airport and and an announcement saying "thank you for flying with Emeritz airline", which will be pre recorded.
 |
| This photo shows the running order of the whole performance and the format of the rooms (on the bottom right of the board) |
The above photo helped me to see the performance as a whole.
During the lesson we received the structure of the performance. The audience we receive are coming from the 'Syria' scene, it was my idea to use an airline which goes to eastern countries. Also, the audience will receive a booklet/ map of India by an air steward so they know where they are without it being specifically stated.
After the whole class had discussed ideas, we began to set up our scene, collecting cardboard from the recycling bin and working out how we can create the set.We later worked on the last part with the gesture theatre. It worked really well and we made a lot of progress because everyone had an input of ideas and also listened to and interpreted others ideas.
Amelia and I realized that the only thing which has been consistent in our performance is having the trafficker character. In our soup kitchen idea we still had the trafficker, now we have traveled half way around the world and everything has changed and adapted to the task and the cast.
In some of my reaserch i found this video. I had not realised that so many children were made homeless each day. https://youtu.be/SZvokDa9AkU
I have contributed many ideas during the devising process. Some of these have been what airlines to use linking our scene to the whole performance, having the oranges scene which is including naturalism theatre in our piece. Amelia and I thought of the idea of having Mixed media on a wall with photos and images and stories relating to the scene we are doing. I came up with the idea of having rag dolls. I had the idea of having a 'community' of street children. This was inspired by some research that I did, where it said how dangerous it was for homeless youths to be alone on the street because they are subject to sex and human traffickers and other dangerous people and how if they stay together, it is easier for them to survive. From this came the idea for who the trafficker takes. We already had the character of the trafficker from one of our original ideas, however, now the child she targets is the only child who is alone in the scene. When we decided that the audience's part in the scene is as tourists, I had the idea that we hand them a small map of India, therefor we do not have to state where they are and it uses different techniques. We later developed this idea so that the audience would be given a map of India on one side and a 'boarding pass' on the other. During the lesson we thought that we could have the sound of a baby crying in a box. I suggested that the sound could be coming from a phone because we could not work out how to make have the crying sound playing during the performance. As well as having to cut ideas from the scene because they are not working, the majority of my ideas have been small details and ideas which complete and tighten the scene of the Indian homeless children.
During this rehearsal we lost 2 of our scene characters, who are now going to be acting as British homeless children who take the audience from scene to scene during the performance. This did throw the group a little, however, we quickly adjusted and began on our work. During the lesson we finalized a props list as well:
Monday 23rd - Week 4
Monday 23rd November 2015
Our target for today's lesson was to run through our whole scene and work on the weaker parts. It took a while at the beginning to work out how we will have the washing line. Instead of moving the audience inside it, we have it covering around the door but still with the stall on the side of the audience. This stops the audience from moving straight into the room and from seeing the whole set straight away, focusing their attentions on the stall and the images covering the wall. I will go in and steal some oranges and other characters will begin to speak to the audience, whilst that is happening the washing line will begin to move in, then back out. Then the curtain is dropped and the audience are moved along by the begging children. They see the children eating the oranges and that starts the first gesture piece. We were originally going to have everyone doing a piece of gesture theatre to show a busy/ chaotic day however we found that it would be disorientating for the audience and the focus may be lost so it was cut to just Ruby, Lili and Poppy doing a synchronized piece.
By the end of the lesson we had an updated list of props to bring and had an outline of the whole structure. We know that our next focus is the individual scenes. Last week we went from having the parts but no transitions and now we have the opposite situation, however, everyone has contributed their ideas for making the scenes. As co-director I felt quite tested at the beginning of the lesson. Due to some people not giving it their all, there was some friction between some of the cast. However, after it had been worked out, I found that the group followed instruction more and were working very constructively. Overall we made quite a lot of progress in this lesson. Also having a clear structure helps the whole group clearly see the whole picture.
Sections:
Entering with the audience: Rio, Max and Esme
Food Stall: Aaron tends the stall, Zafra and Natasha steal oranges and play catch
Washing line: Charlie, Poppy and Lili hold up the washing line whilst Natasha and Zafra play catch and then drop it down to let the audience pass through (it was at first blocking their way and their view).
Oranges: Zafra, Ruby and Poppy eat the oranges and share them around. Lili, Poppy and Ruby steal the oranges and begin their day in the life.
Day in the life: Ruby, Poppy and Lili create gesture theatre to show a day in the life that ends with them opening up the box and scurrying away to the community.
Box: Amelia sat inside with stories and drawings on the flaps
Trafficked: Esme walks up and whispers promises in Amelia's ear. She is lead away but begins to struggle. Some dialogue to be added (perhaps begging the audience to help her).
Community: Zafra, Rio, Poppy, Ruby, Max, Lili, (Aaron?), Natasha are trying to get to sleep under the arches of a bridge (a sideways shelf). Mia and Charlie begin to create their scene through gesture.
Couple: Meet, fall in love and have a baby, child taken from them or abandoned and couple leave the room.
Abandoned child: Left in the arms of a stranger who cares for it (homeless child caring for another now homeless child).
Our target for today's lesson was to run through our whole scene and work on the weaker parts. It took a while at the beginning to work out how we will have the washing line. Instead of moving the audience inside it, we have it covering around the door but still with the stall on the side of the audience. This stops the audience from moving straight into the room and from seeing the whole set straight away, focusing their attentions on the stall and the images covering the wall. I will go in and steal some oranges and other characters will begin to speak to the audience, whilst that is happening the washing line will begin to move in, then back out. Then the curtain is dropped and the audience are moved along by the begging children. They see the children eating the oranges and that starts the first gesture piece. We were originally going to have everyone doing a piece of gesture theatre to show a busy/ chaotic day however we found that it would be disorientating for the audience and the focus may be lost so it was cut to just Ruby, Lili and Poppy doing a synchronized piece.
By the end of the lesson we had an updated list of props to bring and had an outline of the whole structure. We know that our next focus is the individual scenes. Last week we went from having the parts but no transitions and now we have the opposite situation, however, everyone has contributed their ideas for making the scenes. As co-director I felt quite tested at the beginning of the lesson. Due to some people not giving it their all, there was some friction between some of the cast. However, after it had been worked out, I found that the group followed instruction more and were working very constructively. Overall we made quite a lot of progress in this lesson. Also having a clear structure helps the whole group clearly see the whole picture.
Sections:
Entering with the audience: Rio, Max and Esme
Food Stall: Aaron tends the stall, Zafra and Natasha steal oranges and play catch
Washing line: Charlie, Poppy and Lili hold up the washing line whilst Natasha and Zafra play catch and then drop it down to let the audience pass through (it was at first blocking their way and their view).
Oranges: Zafra, Ruby and Poppy eat the oranges and share them around. Lili, Poppy and Ruby steal the oranges and begin their day in the life.
Day in the life: Ruby, Poppy and Lili create gesture theatre to show a day in the life that ends with them opening up the box and scurrying away to the community.
Box: Amelia sat inside with stories and drawings on the flaps
Trafficked: Esme walks up and whispers promises in Amelia's ear. She is lead away but begins to struggle. Some dialogue to be added (perhaps begging the audience to help her).
Community: Zafra, Rio, Poppy, Ruby, Max, Lili, (Aaron?), Natasha are trying to get to sleep under the arches of a bridge (a sideways shelf). Mia and Charlie begin to create their scene through gesture.
Couple: Meet, fall in love and have a baby, child taken from them or abandoned and couple leave the room.
Abandoned child: Left in the arms of a stranger who cares for it (homeless child caring for another now homeless child).
Thursday 19th - Week 3
Thursday 19th November 2015
In today's lesson we focused on the beginning and end of our scene. We started with an activity which taught us to use gesture theatre. We were in groups of 3 and were given 3 places, which were at home, at work and at a restaurant. For each of these scenes we needed to create 3 movements each. With this we created a small piece of gesture theatre, exaggerating all the movements. When we performed it infront of the class, the music gradually became faster, speeding up our performance. This activity helped us to explore more types of theatre which we can use in our performance. The activity was inspired by the work of gecko theatre who use gesture/ physical theatre to create a moving performance.In their work, the scene forms around the actor, still keeping the scene clear and easy for the audience to interpret because of its flowing dance-like movements and transitions. Gecko theatre's performances have very smooth transitions which we are hoping to incorporate in our scene.
During the lesson we spoke about how we will use the space and what props still needed to be organised. We also discussed as a group different techniques of theatre will be used. We began by working on the dilemma of who the audience will be, keeping relevant to the scene they are stepping in. We had the idea of a police officer escorting them out of the room, however, that did not solve the problem of how we will move the audience through the space.
After a while, we re-created the map, still similar to the previous one, however, we included more gesture theatre and audience interaction. From this new map out ideas of how we move the audience through the space began to grow. We would start with people holding up a washing line near the door where the audience walk in. this means that we limit them from seeing the whole room and stopping them from wondering off. We then close it around them, having actors go in and speak to them. Whilst this is happening, we transport the audience, still inside the washing line, to the next scene, where we see me and others eating oranges. During that piece of eating the oranges, Ruby will be trying to get the audience to give her money whilst she is juggling, followed by Ruby, Poppy and Lili doing a piece of gesture theatre about a day in the life of a street child, creating a transition, which leads the audience's focouse onto the next scene. Their piece will end in them opening a box, inside we will have one of our actors surrounded by images and words about her life as a street child. While the audience are looking at the box and information, the three girls will go to the end scene, which involves the homeless children sleeping under a bridge, where on top another piece of gesture theatre is happening, in which two more privileged people will be telling their story. It will show the couple meeting, falling in love all of which is symbolizes the ease of their lives compared to the homeless children, which the audience has just seen the difficulty in which they live. At the end of the gesture theatre piece, they will have a child which they will abandon because she is a girl. In India many young girls are abandoned because society does not allow them to earn as much as men, costing the family more than it will benefit them. The way we will show the baby to be a girl is by having her wrapped in a pink blanket.
The child in the box is also approached by a traffiker, who will first seem as if she is offering the child safety, but then goes on to blindfold her and drag her away to be sold. This will not be very load, however there will be a struggle. Due to the new ideas and changes of the scene, we could begin to rehearse parts of our scene.
During the devising process we needed to keep in mind that the scene needed to be reset almost immediately because the audience come in straight after, and the scene is repeated 5 times. Although the scene has changed, it is still take place in the course of the day, the audience are arriving as tourists in India, early in the morning and the piece finishes at night with the homeless children going to sleep. We cut the use of a video because of the more structured movement of the audience.
Props:
cardboard boxes, oranges, litter/ rubbish, materials to make the rag dolls and to be on Aarons stall, larger box, we will make use of the white corners which are already in The Space, as well as using shelves from the rooms upstairs for the end section. We would like to have an orange cellophane over the lights to stop it from being such a harsh light. A doll to be the child at the end, portable speakers as well as the over head sound of traffic. Advertisements for big companies like Coka-cola which are found internationally and images drawn by children and first hand accounts.
I bought in string and sheets which will be used for the washing line which helped us begin the rehearsal. We have moves a little away from immersive theatre and we are now using different types of theatre such as physical and gesture theatre, which allows us to use more of the space and have a variation in our performance, immersive theatre when in contact with the audience and allowing them to read the things on the walls. These choices have been made by the whole group so that it highlights a day in the life of a homeless child. It also gets the point of the performance across.
The title of the whole performance is 'Kids In Camps', this is why we show children together in a community, making a camp at night to sleep in.
In today's lesson we focused on the beginning and end of our scene. We started with an activity which taught us to use gesture theatre. We were in groups of 3 and were given 3 places, which were at home, at work and at a restaurant. For each of these scenes we needed to create 3 movements each. With this we created a small piece of gesture theatre, exaggerating all the movements. When we performed it infront of the class, the music gradually became faster, speeding up our performance. This activity helped us to explore more types of theatre which we can use in our performance. The activity was inspired by the work of gecko theatre who use gesture/ physical theatre to create a moving performance.In their work, the scene forms around the actor, still keeping the scene clear and easy for the audience to interpret because of its flowing dance-like movements and transitions. Gecko theatre's performances have very smooth transitions which we are hoping to incorporate in our scene.
During the lesson we spoke about how we will use the space and what props still needed to be organised. We also discussed as a group different techniques of theatre will be used. We began by working on the dilemma of who the audience will be, keeping relevant to the scene they are stepping in. We had the idea of a police officer escorting them out of the room, however, that did not solve the problem of how we will move the audience through the space.
After a while, we re-created the map, still similar to the previous one, however, we included more gesture theatre and audience interaction. From this new map out ideas of how we move the audience through the space began to grow. We would start with people holding up a washing line near the door where the audience walk in. this means that we limit them from seeing the whole room and stopping them from wondering off. We then close it around them, having actors go in and speak to them. Whilst this is happening, we transport the audience, still inside the washing line, to the next scene, where we see me and others eating oranges. During that piece of eating the oranges, Ruby will be trying to get the audience to give her money whilst she is juggling, followed by Ruby, Poppy and Lili doing a piece of gesture theatre about a day in the life of a street child, creating a transition, which leads the audience's focouse onto the next scene. Their piece will end in them opening a box, inside we will have one of our actors surrounded by images and words about her life as a street child. While the audience are looking at the box and information, the three girls will go to the end scene, which involves the homeless children sleeping under a bridge, where on top another piece of gesture theatre is happening, in which two more privileged people will be telling their story. It will show the couple meeting, falling in love all of which is symbolizes the ease of their lives compared to the homeless children, which the audience has just seen the difficulty in which they live. At the end of the gesture theatre piece, they will have a child which they will abandon because she is a girl. In India many young girls are abandoned because society does not allow them to earn as much as men, costing the family more than it will benefit them. The way we will show the baby to be a girl is by having her wrapped in a pink blanket.
The child in the box is also approached by a traffiker, who will first seem as if she is offering the child safety, but then goes on to blindfold her and drag her away to be sold. This will not be very load, however there will be a struggle. Due to the new ideas and changes of the scene, we could begin to rehearse parts of our scene.
During the devising process we needed to keep in mind that the scene needed to be reset almost immediately because the audience come in straight after, and the scene is repeated 5 times. Although the scene has changed, it is still take place in the course of the day, the audience are arriving as tourists in India, early in the morning and the piece finishes at night with the homeless children going to sleep. We cut the use of a video because of the more structured movement of the audience.
Props:
cardboard boxes, oranges, litter/ rubbish, materials to make the rag dolls and to be on Aarons stall, larger box, we will make use of the white corners which are already in The Space, as well as using shelves from the rooms upstairs for the end section. We would like to have an orange cellophane over the lights to stop it from being such a harsh light. A doll to be the child at the end, portable speakers as well as the over head sound of traffic. Advertisements for big companies like Coka-cola which are found internationally and images drawn by children and first hand accounts.
I bought in string and sheets which will be used for the washing line which helped us begin the rehearsal. We have moves a little away from immersive theatre and we are now using different types of theatre such as physical and gesture theatre, which allows us to use more of the space and have a variation in our performance, immersive theatre when in contact with the audience and allowing them to read the things on the walls. These choices have been made by the whole group so that it highlights a day in the life of a homeless child. It also gets the point of the performance across.
The title of the whole performance is 'Kids In Camps', this is why we show children together in a community, making a camp at night to sleep in.
Monday 16 November 2015
Monday 16th - Week 3
Monday 16th November 2015
In this lesson, we began by working on our blogs. Then we went to the classroom and did a warm up to help the group who are devising the scene 'North Korea'. In a circle one person started a movement and everyone had to copy. Once the person who is next to them sees that everyone is copying the movement, they change it and so on. This helps to create the controlled physicality of a soldier/guard which is necessary for their scene.
In our group we spoke about our performance. We started by going through the scene, which takes place in the space of a day on a street in India. The piece does not tell a story because we feel as though that would not be as immersive as 'stepping' into a street, with the smells and sounds. There will still be true stories written on the wall, with a simple rag-dolls to represent that child, however, we want to have as little story telling speech as possible.
We then asked for everyone to contribute ideas and thoughts to the group. Mainly, everyone thought the use of soundscape and immersive smells and sounds went with our idea for the devising piece. To make sure the audience move through the 'street', we have made the decision to have my character run and steel something from Aarons stall and run away. This gives him reason to say move along or 'get lost' to the audience through his annoyance, so they will move along and see the rest of the performance. The piece will contain the techniques of a soundscape (for the sounds of traffic), a video which will be behind the cardboard (pre-filmed) which the audience will have ti look through a gap to see. The video will contain a more disturbing side of what happens to children living on the streets. It is most likely to be a video of someone's face in the dark saying ' is he gone yet', allowing the audience to use their imaginations. The scene will also contain a freeze-frame when the girl is being taken by the human trafficker and also physical theatre. We are hoping to use silhouettes behind the 'walls' which are sheets, showing the girl being taken. This will have the sound of a heartbeat behind it and the 'community' of street kids will breath deeply in time to heart beat (so their movement is visible). This will be effective because it builds tension in the room as well as concluding our scene.
In this lesson, we began by working on our blogs. Then we went to the classroom and did a warm up to help the group who are devising the scene 'North Korea'. In a circle one person started a movement and everyone had to copy. Once the person who is next to them sees that everyone is copying the movement, they change it and so on. This helps to create the controlled physicality of a soldier/guard which is necessary for their scene.
In our group we spoke about our performance. We started by going through the scene, which takes place in the space of a day on a street in India. The piece does not tell a story because we feel as though that would not be as immersive as 'stepping' into a street, with the smells and sounds. There will still be true stories written on the wall, with a simple rag-dolls to represent that child, however, we want to have as little story telling speech as possible.
We then asked for everyone to contribute ideas and thoughts to the group. Mainly, everyone thought the use of soundscape and immersive smells and sounds went with our idea for the devising piece. To make sure the audience move through the 'street', we have made the decision to have my character run and steel something from Aarons stall and run away. This gives him reason to say move along or 'get lost' to the audience through his annoyance, so they will move along and see the rest of the performance. The piece will contain the techniques of a soundscape (for the sounds of traffic), a video which will be behind the cardboard (pre-filmed) which the audience will have ti look through a gap to see. The video will contain a more disturbing side of what happens to children living on the streets. It is most likely to be a video of someone's face in the dark saying ' is he gone yet', allowing the audience to use their imaginations. The scene will also contain a freeze-frame when the girl is being taken by the human trafficker and also physical theatre. We are hoping to use silhouettes behind the 'walls' which are sheets, showing the girl being taken. This will have the sound of a heartbeat behind it and the 'community' of street kids will breath deeply in time to heart beat (so their movement is visible). This will be effective because it builds tension in the room as well as concluding our scene.
Thursday 12th - Week 2
Thursday 12th November 2015
We spent the first hour sharing our scene's initial ideas with the whole cast of the performance, receiving feedback and thoughts to consider. By seeing the ideas of other groups we felt that our scene was unspecific and did not have a flow to it, causing the monologues to seem meaningless and not giving the effect of immersive theatre.
It was very helpful to see how the whole performance is going to look and also gave me inspiration on how to change ours. As a cast we decided, when presenting our piece that we would no longer base it in a soup kitchen in Britain but instead in India. This gave us more room to explore immersive ideas and characters such as traffickers, where as before the trafficker seemed out of place. After brainstorming our new ideas we felt as a group more positive about where we were leading our scene because we felt that street kids in India was more fitting to the targets for devising and would not be character based.
Although we completely turned around our scene, everyone contributed many ideas, which we then realised we needed to cut down. We created a map of the room which was now going to be a street in India, where different events will occur. The decision was made to not make the scene a structured story but instead create a scene where the audience are stepping into reality.
The group began to all think of specific ideas once we had an thought of how the room would be set. This included having true stories hand written on the walls with rag-dolls representing the children, along with graffiti, posters and children's drawings.
The street itself will be crafted by cardboard boxes, representing the temporary homes of the children. It will create an M/ zig-zag shape to allow the audience to move through the 'street', discovering new parts as they go. We intend to have the sounds of cars, especially near the 'community' of homeless children so the audience wonder how they get to sleep.
Performance proposal:
Our performance is set in a street in India, showing how homeless children live. The idea is that the audience are stepping into real life, where we will use the set, smells and sounds to create the immersive theatre piece. The scene does not have a set structure. The operformers will not tell stories, but we will have stories written on the wall. These will be first hand accounts from children who live on the streets in India. The sounds will be of traffic, to show the background noise that the children live with. The actors will be showing how these children live. The one girl who is alone will be taken away by the trafficer, who will bw seen as the audience are leaving, trying to tell her. Everything needs to be simple but obvious, so we can build layers of details. This will be effective because it will show the reality of how homeless children live.
equipment:
cardboard boxes
rage/ material
Rice/ relevant foods
juggling equipment
incense
tea bags
portable speakers
p[lastic cups and bottles
traffic sounds for soundscape
bin bags
posters and graffiti to mark the walls
sheets/towels
costume:
oversized t-shirts
shorts
We spent the first hour sharing our scene's initial ideas with the whole cast of the performance, receiving feedback and thoughts to consider. By seeing the ideas of other groups we felt that our scene was unspecific and did not have a flow to it, causing the monologues to seem meaningless and not giving the effect of immersive theatre.
It was very helpful to see how the whole performance is going to look and also gave me inspiration on how to change ours. As a cast we decided, when presenting our piece that we would no longer base it in a soup kitchen in Britain but instead in India. This gave us more room to explore immersive ideas and characters such as traffickers, where as before the trafficker seemed out of place. After brainstorming our new ideas we felt as a group more positive about where we were leading our scene because we felt that street kids in India was more fitting to the targets for devising and would not be character based.
Although we completely turned around our scene, everyone contributed many ideas, which we then realised we needed to cut down. We created a map of the room which was now going to be a street in India, where different events will occur. The decision was made to not make the scene a structured story but instead create a scene where the audience are stepping into reality.
The group began to all think of specific ideas once we had an thought of how the room would be set. This included having true stories hand written on the walls with rag-dolls representing the children, along with graffiti, posters and children's drawings.
The street itself will be crafted by cardboard boxes, representing the temporary homes of the children. It will create an M/ zig-zag shape to allow the audience to move through the 'street', discovering new parts as they go. We intend to have the sounds of cars, especially near the 'community' of homeless children so the audience wonder how they get to sleep.
Performance proposal:
Our performance is set in a street in India, showing how homeless children live. The idea is that the audience are stepping into real life, where we will use the set, smells and sounds to create the immersive theatre piece. The scene does not have a set structure. The operformers will not tell stories, but we will have stories written on the wall. These will be first hand accounts from children who live on the streets in India. The sounds will be of traffic, to show the background noise that the children live with. The actors will be showing how these children live. The one girl who is alone will be taken away by the trafficer, who will bw seen as the audience are leaving, trying to tell her. Everything needs to be simple but obvious, so we can build layers of details. This will be effective because it will show the reality of how homeless children live.
equipment:
cardboard boxes
rage/ material
Rice/ relevant foods
juggling equipment
incense
tea bags
portable speakers
p[lastic cups and bottles
traffic sounds for soundscape
bin bags
posters and graffiti to mark the walls
sheets/towels
costume:
oversized t-shirts
shorts
Monday 9th - Week 2
Monday 9th November 2015
This lesson was spent in the computer room, where Amelia and I, as the directors, began to work out the casting. We also organised and extra rehersal to help us begin to stage the performance. As a group we discussed ideas for the performance.
Character reaserch:
My character is a volunteer at the soup kitchin. The idea of her character in the story is to give facts and statistics about homeless youth. Mine and Poppy's characters are both volunteers who bring a more positive side to the performance.
In a campaign video, it starts off with negative stories, thoughts and statistics, however, usually ends on a poitive note. This is how we are thinking of basing this performance. We must be aware not to make the volunteers a stereotype.
personality trait layers:
Physicality
Voice
Energy
Status
Objective
Super objective
The play is designed to make the audience think about the deeper meaning. When they next watch Comic Relief or Children in Need, we want the audience to think about what is actually happening to these people who are suffering, put on camera at their worst and no dignity left.
One of the first lines will be "cut, the boom mike is not working". Whilst the directors and volunteers backs are turned, a human trafficker comes in and takes someone away.
This lesson was spent in the computer room, where Amelia and I, as the directors, began to work out the casting. We also organised and extra rehersal to help us begin to stage the performance. As a group we discussed ideas for the performance.
Character reaserch:
My character is a volunteer at the soup kitchin. The idea of her character in the story is to give facts and statistics about homeless youth. Mine and Poppy's characters are both volunteers who bring a more positive side to the performance.
In a campaign video, it starts off with negative stories, thoughts and statistics, however, usually ends on a poitive note. This is how we are thinking of basing this performance. We must be aware not to make the volunteers a stereotype.
personality trait layers:
Physicality
Voice
Energy
Status
Objective
Super objective
The play is designed to make the audience think about the deeper meaning. When they next watch Comic Relief or Children in Need, we want the audience to think about what is actually happening to these people who are suffering, put on camera at their worst and no dignity left.
One of the first lines will be "cut, the boom mike is not working". Whilst the directors and volunteers backs are turned, a human trafficker comes in and takes someone away.
Thursday 5th - Week 1
Thursday 5th November 2015
In this class we were given a new title for our scene because Madrassas are a place of education, not a camp. Our new title is 'Homeless children'. This opened up new ideas to help us explore immersive theatre.
In our group, I was a live blogger, collecting and editing information for a research blog. As a whole class we did general research into homeless children. Children live on the streets for many different reasons and our whole performance will hopefully show a range of situations. We had textual researchers who found information about homeless children from the library, Online researchers who found link to useful websites and information. We then began to brainstorm thoughts, ideas and words which will help us to create the performance. We then began to devise the piece using our initial ideas.
We worked with different ideas such as Christmas carolers as volunteers handing out blanket to the homeless, however, this idea was scrapped and we decided to set the scene in a soup kitchen, allowing us to bring some positives to the piece. We then found the idea of filming a campaign video to help those in need and raise awareness. When the camera roll is 'cut', we would have monologues, based off true stories from homeless youth. this is meant to make the audience think next time they watch a campaign video about what is happening behind the scenes
We found that many true stories of youths showed that they were grateful to soup kitchens.
In this class we were given a new title for our scene because Madrassas are a place of education, not a camp. Our new title is 'Homeless children'. This opened up new ideas to help us explore immersive theatre.
In our group, I was a live blogger, collecting and editing information for a research blog. As a whole class we did general research into homeless children. Children live on the streets for many different reasons and our whole performance will hopefully show a range of situations. We had textual researchers who found information about homeless children from the library, Online researchers who found link to useful websites and information. We then began to brainstorm thoughts, ideas and words which will help us to create the performance. We then began to devise the piece using our initial ideas.
We worked with different ideas such as Christmas carolers as volunteers handing out blanket to the homeless, however, this idea was scrapped and we decided to set the scene in a soup kitchen, allowing us to bring some positives to the piece. We then found the idea of filming a campaign video to help those in need and raise awareness. When the camera roll is 'cut', we would have monologues, based off true stories from homeless youth. this is meant to make the audience think next time they watch a campaign video about what is happening behind the scenes
We found that many true stories of youths showed that they were grateful to soup kitchens.
Monday 2nd - Week 1
Year 10 Theatre Term 2 Devising
Monday 2nd November 2015
The title of this devising unit is 'Kids In Camps'. In the computer room, we were split into groups and given the theme/title of our scene. My group was given the title 'Madrassas', however, Madrassas are not camps and do not fit with the title.
Monday 2nd November 2015
The title of this devising unit is 'Kids In Camps'. In the computer room, we were split into groups and given the theme/title of our scene. My group was given the title 'Madrassas', however, Madrassas are not camps and do not fit with the title.
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