Today I posted on the Twitter page to add a bit of comedy to the page and go keep people interested.

if i look back, i am lost
Claire Keane

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@jsperformingarts-blog
Today I posted on the Twitter page to add a bit of comedy to the page and go keep people interested.
Bio
Can I please have everyone’s bio tonight? @declan-lewis @demilxigh98 @brooke182 @jsperformingarts @laurenvanryssen @lucyloweyr2 @lovingpeachtaco @lizzyseeram @matthewjacksonblr25 @melclarkeperformingarts @jgreenuniverse @jodilauren98 @adam-mad-potter @tommcmanaman1998 @charleyeden457 @emily-jane1996
Jess really like playing Dolly because she is such a sassy character, she has a lot of respect for herself and I think she is quite comical. Jess is excited for One Man Two Guvnors because it’s an amazingly clever play and the cast are incredible to work with.
Is this okay?
marketing strategy: why has our group chosen to these marketing techniques and materials?
Why Use Posters? we’ll be using posters as they are an extremely effective marketing method. One poster can be seen by many people, and if people are seeing posters around chesterfield daily, it will remain in their heads and they won’t forget about it. they are also bright, intriguing and easy to read, with all the required information laid out in an easy to understand manner.
Why Use Social Media? Social media is once again an easy way to reach hundreds of people. Updates can be sent out to the public instantly, and video’s and photo’s of rehearsals will help to draw audiences in. Our target audience includes secondary school children, and teenagers most of which use social sites like Facebook, twitter and YouTube. Not only is this modern and far reaching but it’s also cost effective as it’s completely free.
Why Do Flash Mobs? Flash mobs are a great way of connecting directly to potential audiences. displaying some of the characters will help show what the plays about, and draw much wanted attention. they are intriguing , funny, and encourage people to take flyers. this will also incorporate going round in character, and interacting with members of the public, improvising with each other and handing out flyers at the same time, which will have much the same effect.
What’s Useful About A Radio Advert? The radio advert will once again reach a great many people instantly. Because their will already be hundreds of people listening, we are guaranteed they will here about our show. if ambers sister agrees, it will most likely, once again be completely free.
Why Use Word Of Mouth? word of mouth is a simple and easy way to raise our performances profile. Mentioning it in passing it in passing conversation, and asking friends and family to tell their friends will spread the word around quickly, and with how many people are working on our performance, that will be a lot of people to hear about it. also friends and family are some of the most likely people to come and see the performance, and once again, word of mouth is completely free.
Why A Newspaper Advert? it’s quite easy to get an advert into local papers, and s a simple bright, attractive advert with the vital information (show dates/times and ticket prices) it will be easy to read and reach the hundreds of people who already read the newspaper.
What’s So Effective About Flyers? Flyers are something we can all easily carry round in our bags, and hand out to whoever we want. once again with all the information pact onto a small piece of bright paper they won’t take much to read through. They’ll be really useful to hand out during flash-mobs too, as flash-mobs will increase our chance of people excepting flyers and reading them. they aren’t targeted marketing, but they’ll be worth the price of them for the money they make.
Why invite Schools? inviting schools allows us to reach large groups of children with little effort, and could potentially increase audience numbers considerably. it doesn’t take long and is an incredibly efficient use of our time. secondary schools are a large part of out target audience too, and there isn’t a much better way of reaching them than through their school.
What’s The Use of Cheaper Ticket Prices and Concessions? although having cheaper tickets will bring in less money per ticket, it will mean our product is much more sellable, and many more people are likely to be able to afford a ticket. in puts us in strong competition wi.th other shows too, as where as our ticket price will be £8, other shows average at about £20 we’ll also be offering concession; student tickets will cost £7, which should help draw in our target audience.
How will you approach your role/job to make sure your Marketing is inventive and captures the attention of the Target Audience?
make deadlines for material completion -e.g. finish flyers and send of for printing by 10th of may Take inspiration from our research and put it into our own marketing - e.g. posters -attractive, bright, colours, layout etc Having decided what our Target audience is, and what the selling points of them are, focus on them in you’re task role -e.g. flash mobs -comedy Consider when and where is best to release marketing technique to maximize it’s effect -e.g the end of the begining/end of them month when people get paid use selected slogans/brands on marketing materials -e.g. “the best show on the planet” be creative in you approach: try new methods, clever layouts, something eye-catching.
Act One Scene Three - Police fight
Alto Harmonies for Gay or European
Is he gay (or European), gay (or European), gay or Euro-:
(He’s gay), and European, (he’s gay), and European, (he’s gay), and European and gay:
And gay, (fine okay I’m gay), hooray!:
Ensemble Piece for Cabaret
The Andrew Sisters - Boogie Woogie Bugle Boy
(via https://www.youtube.com/watch?v=qafnJ6mRbgk)
Contemporary Monologue choice 1
And Turning, Stay by Kellie Powell
Amy: Don’t you dare walk away from me! And don’t tell me you’re sorry! And don’t tell me to forget it, and don’t you dare tell me to “let it go.” God knows, I’d like to. I wish I could, but I can’t! I can’t forget that we had something, and you’re running away. You’re running away! Don’t you see, Mark? You’re running from what I’ve searched for all my life! Why, because you’re scared? Well, I’m scared too, but you and I - we have something worth fighting for. We could make it work, I’m not saying it would be easy, but I care about you. And I know deep down, under this (Spitting out the word.) bravado, you care about me. And that’s what it’s all about, Mark, don’t you get it? It’s the human experience. You can pretend all you want, but you’re only lying to yourself. You’re denying the simple and wonderful fact that you are emotional, and vulnerable, and alive. Can you honestly stand there and tell me that I mean nothing to you? That everything that happened that night was a lie? That you feel nothing? (AMY is crying or close to it. The following is a painful statement that she makes not to attack or threaten Mark but rather, to allow herself closure with the situation.) I feel sorry for you, Mark. I’ll move on. I’ll find someone else. I’ll be all right, because I will know that I tried. That I did everything I could. But someday you will look back, and you will realize what you threw away. And you will regret it always.
What would this monologue be suitable for?
This monologue would be suitable for the Bath Spa Uni as they would like a contemporary play which is under 2 minutes. This monologue contrasts with my other monologue very differently as this is quite serious, I feel like that because of the context I would be able to perform this monologue very well and create a good atmosphere for it even though it’s about a relationship but it’s one of the lighter serious things.
And may it be that you have quite forgot A husband's office? Shall, Antipholus, Even in the spring of love, thy love-springs rot? Shall love, in building, grow so ruinous? If you did wed my sister for her wealth, Then, for her wealth's sake use her with more kindness: Or, if you like elsewhere, do it by stealth; Muffle your false love with some show of blindness; Let not my sister read it in your eye; Be not thy tongue thy own shame's orator; Look sweet, speak fair, become disloyalty; Apparel vice like virtue's harbinger; Bear a fair presence, though your heart be tainted; Teach sin the carriage of a holy saint; Be secret-false: what need she be acquainted? What simple thief brags of his own attaint? 'Tis double wrong to truant with your bed, And let her read it in thy looks at board: Shame hath a bastard fame, well managed; Ill deeds are doubled with an evil word. Alas! poor women, make us but believe, Being compact of credit, that you love us; Though others have the arm, show us the sleeve; We in your motion turn, and you may move us. Then, gentle brother, get you in again; Comfort my sister, cheer her, call her wife: 'Tis holy sport to be a little vain, When the sweet breath of flattery conquers strife.
Contemporary Monologue choice 1
And Turning, Stay by Kellie Powell
Amy: Don’t you dare walk away from me! And don’t tell me you’re sorry! And don’t tell me to forget it, and don’t you dare tell me to “let it go.” God knows, I’d like to. I wish I could, but I can’t! I can’t forget that we had something, and you’re running away. You’re running away! Don’t you see, Mark? You’re running from what I’ve searched for all my life! Why, because you’re scared? Well, I’m scared too, but you and I - we have something worth fighting for. We could make it work, I’m not saying it would be easy, but I care about you. And I know deep down, under this (Spitting out the word.) bravado, you care about me. And that’s what it’s all about, Mark, don’t you get it? It’s the human experience. You can pretend all you want, but you’re only lying to yourself. You’re denying the simple and wonderful fact that you are emotional, and vulnerable, and alive. Can you honestly stand there and tell me that I mean nothing to you? That everything that happened that night was a lie? That you feel nothing? (AMY is crying or close to it. The following is a painful statement that she makes not to attack or threaten Mark but rather, to allow herself closure with the situation.) I feel sorry for you, Mark. I’ll move on. I’ll find someone else. I’ll be all right, because I will know that I tried. That I did everything I could. But someday you will look back, and you will realize what you threw away. And you will regret it always.
What would this monologue be suitable for?
This monologue would be suitable for the Bath Spa Uni as they would like a contemporary play which is under 2 minutes. This monologue contrasts with my other monologue very differently as this is quite serious, I feel like that because of the context I would be able to perform this monologue very well and create a good atmosphere for it even though it’s about a relationship but it’s one of the lighter serious things.
2nd Years
this is next weeks script to learn, x2 men x2 women i will post groups after.
23 They’re all eating. Johnjo seems lost in a world of his own…
PATRICK O'SHEA So it’s nothing to do with money?
KAREN O'SHEA No.
PATRICK O'SHEA And nothing to do with being on the telly?
KAREN O'SHEA Nothing to do with either of them, no. It’s just that some girls are into footie just like…
PATRICK O'SHEA Bollocks.
COLEEN O'SHEA Language.
KAREN O'SHEA …you and your mates are.
PATRICK O'SHEA So it’s footie, yeah?
KAREN O'SHEA Yeah.
Johnjo sees a flashing blue light outside…
PATRICK O'SHEA They play footie so girls who are into footie are gonna be attracted to them…
KAREN O'SHEA Yeah.
PATRICK O'SHEA That’s your argument, yeah?
KAREN O'SHEA Yeah.
PATRICK O'SHEA
I play footie.
COLEEN O'SHEA (to Johnjo) What’s up?
KAREN O’SHEA (to Patrick) So?
PATRICK O'SHEA So how come they’re not throwing themselves at me?
JOHNJO O’SHEA (to Mum) Nothing.
KAREN O'SHEA Have you looked in the mirror lately?
PATRICK O'SHEA Has Wayne Rooney? I’m gonna pull a bird like his, am I, because she’s into football and I play for the Dog and Duck?
KAREN O'SHEA They were childhood sweethearts.
PATRICK O'SHEA Oh bollocks!
COLEEN O'SHEA I won’t tell you again!
PATRICK O'SHEA It’s about being famous and having a load of dosh and football gives you both. It’s nothing to do with football itself. That’s just a means to an end. It could be music or acting or boxing or anything like that, anything…
The doorbell goes.
Johnjo stands.
PATRICK O'SHEA (CONT’D) …that brings a bit of fame and fortune. That’s all that matters. And of course they’re gonna say they’re into it… We go with Johnjo…
PATRICK O'SHEA (CONT’D) No bird’s gonna say, “I can’t stand football but I love the dosh.”
Bye Bye Blackbird - Bob Fosse (first rehearsal)
Second Tumblr for year 2.
Please can you go and follow this page, this is for my all the second year work. samdrama suemcgeorge georgiigirl beckylangford1983
Brecht Physicality Sheet
Discuss what you are doing practically for both roles and why. Describe your physical stance, posture, sitting position etc.
Gentleman:
For the gentleman, he is literally having a white shirt, it makes him look smart but not too smart. As the gentleman I am keeping my head down because the gentleman goes to Shen Te and therefor, I see it as the gentleman shouldn't have a great posture because he is not someone important in the play and is wanting to do some shady play. So therefore he's slightly slouched, doesn't have a good posture and walks normally.
Shui Ta:
Shui Ta is a respectable man to the authorities and therefore because Shui Ta is also Shen Te, I am trying to show the difference between the two. For Shui Ta, physically he has a good posture so a straight spine and his head is held high because he almost looks down on everyone, not because he is stuck up but because he is protecting Shen Te from everyone who is taking advantage of her. Back then men were more respectable than woman and therefor people respect Shui Ta. Shui doesn't sit down so therefore he doesn't have a physical sitting position however I imagine if he was to be seated he would cross his legs (obviously not in a girly way).
He wears a blue t-shirt, buttoned all the way up to the top, this way it shows that he is a business man (running the shop) and that he is also respectable.
How do you travel across the space? Consider speed, emotion, movement etc You can discuss as many different moments as you wish.
A lot of the time as Shui Ta I will walk almost at a slow speed across the space unless its to go and talk to another character. This is because it can be quite patronising, I have my hands together and have somewhat of a slick smile when talking to some characters for example like the family of eight. The only time I kind of break out of this is when I talk about how I'm not sure how many ideas I'm going to need to carry on Shui Ta. At this point I am quite stressed; another key moment would be at the end when everyone is asking me where Shen Te is but I am Shen Te but I can't say anything so I'm panicking. However most of the time my emotion isn't shown because I am Shen Te and so Shen Te shows her emotions.
Discuss your facial expressions at particular moments – what message do you hope to send to the audience through the use of these?
The facial expression I would say show's the message the most is the final scene when I am very worried and panicked and this gives it away to the audience that I am Shen Te because the characters are asking me where Shen Te is but in my facial expressions I am worried because I am Shen Te so hopefully this does give out the right message to the audience.
What are you doing with your hands?
My arms are either crossed or my hands are together, almost like holding them together in a polite way. When I cross my arms it shows a bit of a femine quality but also it shows my authority on how I look at people.
What gestures are you using and what do these tell the audience?
I think the only gesture I use would be pointing and once again this is when I'm mainly when I'm talking to the family and how they are doing bad things like stealing from the bakery. I'm quite sarcastic with them too.
What eye contact do you have with (a) other characters (b) the audience? When and why?
The main eye contact I have with the other characters is just eye contact which is politeness because even though we're doing brecht it's just natural when talking to another character to look them in the eye unless it's some kind of emotion or reaction for example, when Shen Te falls in love with Yang Sun. The main eye contact I have with the audience is in the final scene when I am put on the spot about Shen Te, I am looking at the audience like they are the judges and that they are judging me.
What emotions are using and how are these portrayed? Do you change emotion at different points?
The main emotions I use is mainly being stressed and worried because I'm not sure how I am able to carry on the whole idea of Shui Ta. I don't really show that much emotion, I am quite sarcastic with some of the character, like the family however I don't show much emotion.
How is the audience able to ‘feel’ something for the character through what you are doing?
The audience shouldn't really be able to feel something for my character because they should realise that I am Shen Te and so therefore they will mainly have mixed opinions on Shen Te and how Shui Ta is doing these things.
Think about your line delivery. How are lines delivered? Why are you doing it that way? What variation is there in your line delivery?
Most of my lines are very serious because I am either talking about business or I am talking about Shen Te (whom is myself) and then other lines, like when I am talking to the family are quite sarcastic.
What are the key messages you are trying to get across to the audience?
One of the biggest messages that we are trying to get across to the audience is that Shen Te is a good person but is she a good person with Shui Ta. We want the audience to question themselves on what they think about religion and how people are morally good.
What are the most important aspects of your practical work that will achieve this?
It will be the way our characters deliver their lines and how the characters interpret each other and how they interact with one another. It's interesting because we don't know if that's how the audience will react and think about our play but I think we got the right parts of the play in their to be able to show the audience if you can be a good person.
Brecht Contemporary Blog 5
Brecht Contemporary Blog 5 1. HOW HAS THE PRACTICAL LESSON IMPACTED ONTHE PROGRESS AND DEVELOPMENT OF THE PERFORMANCE AS A WHOLE AND YOUR INDIVIDUAL PERFORMANCE OF CHARACTER?
This week we have all been extremely productive on everything including myself and my characters. On Tuesday we did a big warm up and then we focused going through scene 10 because we haven’t fully blocked it yet so therefore we focused on improvisation. We then had a full run through of the play to make sure that we knew how long it lasted and how much we would need to cut down.
2. Describe the games and exercises used to warm up and why they were used.
This week we did some vocal warm ups like A E I O U and then we did a physical warm up by just warming up our muscles and just getting the blood pumped around our muscles. We did this so we could warm our vocal cords and get warm up so that have plenty of energy.
3. Which explorative strategies did you use and did they help to develop your role? e.g. still image, thought tracking, hot seating, conscience alley, role play, Forum theatre, creative writing, acting styles and acting exercises
This week we have been completely focused on our play and making sure that our characters are characterised with the stereotype because that is the way of Brechtian theatre. We have been working on the style of Epic Theatre with a lot of improvisation in our scenes.
4. Describe the scenes you rehearsed? Describe the skills you used? Facial expression, gesture, voice, emotion, reaction.
In scene 9 me and Lauren had to improvise a lot and this is the scene where Yang Sun tells Shui Ta that he may marry Shen Te and because Shui Ta is Shen Te I have to act quite surprised and shocked but I have to hide it because he doesn’t know I am Shen Te. We also rehearsed Scene 10 and in scene 10 is where Shui Ta is being accused of doing something with Shen Te and everyone is asking Shui Ta where Shen Te is and so we had to improvise in which everyone was shouting and accusing Shui Ta and so we improvised around the lines.
5. What Ideas did you have?
We decided not to add anymore ideas in this week because we were purely focusing on making sure that we did a full run through of the play so we could time it and see what needs changing or cutting for good.
6. How did you take risks and experiment today?
We took a risk by improvising our last two scenes because everyone was struggling with their lines and because this was only last minute we were only able to have a couple of run throughs.
7. How did you develop ideas as a group? Who took the lead? Were any of the ideas your own? How did you contribute to the development of the piece? Describe what you tried out in rehearsals.
This week because we were focusing on getting a run through because we haven’t been through the play fully yet because we tried on Tuesday however because we’re still on scripts it didn’t really run smoothly and so we had to stop at scene 7. We just made sure that we have a running order and that we help each other when it comes to improvisation.
8. What drama elements were developed? For example Plot, action, Style- e.g. Naturalism, epic, dramatic tension, Characterisation
The main drama element we’re looking at is Epic theatre and therefore we have been looking into breaking the fourth wall and Brechtian techniques which we have already started to incorporate, for example a narrator and speaking out the stage directions.
9. Describe the final products of the rehearsal. Step by step what did you do? What did you see?
Finally we managed to do a full run through on Friday morning ready for the actual show in afternoon. On Tuesday we went through a couple of scenes and tried and did some warm ups so we could get ready. We also sorted out our tech with lighting and music and then we dorted out our puppets by giving them more clothing and supporting them more.
Evaluation of the lesson 10. How did you rehearse in a safe way today – think about how you used the space/set/props/equipment, as well as your own personal warm up routine (you will be video-ed in rehearsal demonstrating your own warm up routine)
We did rehearse in a very sensible way even though we didn’t have a lot of space everyone was spatial aware so there were no accidents. We worked together well as a group when we did the warm ups because everyone had a bit of the input when it came to the warm ups. 11. Your own strengths and weaknesses need to be described here. Be specific about the skills you used.
This week has been really productive because I feel like I have kept focus and have focused on really getting the performance together. However I feel like my biggest weakness was that I struggled with my lines so on Tuesday so the performance was going quite slow. It wasn’t just me however because we work as a team and because I don’t perfectly know all my lines I know that it’s also one of my weaknesses.
12.What from today are you going to keep for the performances? Eg an accent you explored or a characteristic for your role. I think we’re keeping everything for the performance, we’re focusing on getting the performance together so I think we’re going to keep everything from today unless we know we definitely need to change something on Friday.
13.What needs to be changed or rejected from the ideas? Why?
Well I think the main thing is that we need to sort out our music and lighting on the Tuesday because we didn’t have any so we sorted that out and I think pretty much everyone agreed on the music we wanted to use and the lighting. The lighting was simple and the only thing that changed was in scene 10 when the lights go red to show that Shui Ta is in court and then we will have a blackout when the scene is completely different and doesn’t flow.
14. Do you need to do any further research to help understand and develop your character? Say what you need to research and why here. Eg do you need to explore different accents or watch and observe a tv programme to get ideas for your characterisation?
No, my characterisation is fully there now because it’s all about stereotypes and how you add them to the character. Shui Ta is a male but he is almost like a respectable business man.
15. What needs to be improved for next week? 3 targets for yourself and a further 3 for the group here. E.g. Line learning, moves, special awareness, Facial expression, Characterisation, use of props, costume, masks, music, sound, practicing cues, responding to others, giving direction, taking direction, timekeeping, practice regime.
Targets For the Group:
Nothing needs improving for next week but needs improving for Friday*
- Everyone needs to learn their lines, we are still on script three days before the performance and considering we have our variety performance on the Thursday we seriously need to learn them.
- Characterisation, it will come on the day but because people still have scripts in their hands it’s not as good as it could be.
Targets for me:
- Obviously line learning is one of them.
- Focus, I’m getting a bit stressed and distracted so therefore I’m losing focus a bit however this will improve for Friday.
Peer review- Jess Stacy
Here it is Jess
Variety Evaluation
Task 4- Evaluation of process and performance, deadline Sunday 14th June 2015
How do you feel you conducted yourself throughout the project? Did you manage your time well and work effectively independently?
I feel like I conducted myself very well throughout the project. I will admit that it was hard to keep focused while working alone however I did manage my time well and I did work effectively. The great part of working independently is that I have all the time during the day to work on my act because I didn't require anything special.
How successful do you feel your act was as entertainment to your audience?
I think my act was very entertaining for the audience, I think at the start of the act it was more of the warm up and joke and then as my act went on the audience enjoyed it more and more and I think that the audience was quite surprised by my stage presence. I think my act was very successful.
Did you find there were any problems technically or within your act content once you took it to the external venue?
No I didn't, the only problem was that the wire was getting caught around the mic stand so before I could start I had to unravel the wire from the mic stand however I made a joke about how Luke is very useless.
Discuss the successful elements of your act along with those, which worked less well, give reasoning within your choices
The biggest successful element would be the flow and my comedy timing, I think my comedy timing on the night couldn't have gone any better. I was very nervous and very shaky however I kept my voice under control and my act just flowed through and it came naturally to me.
I feel like another element would be my stage presence and I know that it's not much of an element however it is very important when it comes to stand up Comedy, the audience need to like the look of you and make eye contact with you and I feel like even though I couldn't see the audience that well because of the lighting, I feel like the audience thought I was making eye contact with them but in fact I can't see them. This actually comforts me a little.
Something that I feel like didn't work too well was my movement, I feel like because of my confidence, I was a bit static on stage even though I did move a bit. I mean because of the lighting I couldn't really go far anyway so maybe I could of developed something more with the lighting instead of a nice general white wash.
Would you change any part of your act if you were to complete this project again? If so, why?
I don't think I would change any of my act at all, in the end it fell into place perfectly however I just wish that I could've been more confident throughout because I was scared to show people my act. I think it would've made my comedy act funnier as well if I was more confident.
Pictures of the gods that we are using for our performance.