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
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