seen from Bulgaria
seen from Malaysia
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seen from India
seen from Malaysia
seen from Malaysia
seen from United Kingdom
seen from Malaysia
seen from United States
seen from United States
seen from United States
seen from Malaysia
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seen from United States
seen from United States
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estimated outgoings MID
final Budget
Pomegranate theatre invoice FINAL BUDGET. MID. TASK 7 further info.
Income
Ticket sales 6670
Outgoings / contra. Vat
Theatre hire. 2667. 533.4
Additional hire
Mon 0.5 27.50 5.5
Tues 5.75 632.5 126.5
Wed 5.25 577.5 115.5
Tech staff. 806.85 161.37
Get out 828 165.6
NIC. 225.61 45.122
CC online agency commisions
184.82 36.963
Total outgoings: 5949.78. 1189.96 = £7139.74
Income - outgoings = £ - 469.73 (inc vat)
Actors CV - SOLA
Name: Rebecca Clarice Charlotte Burton.
D.O.B: 22/11/1997
Address: 7 spencer street, Chesterfield, Derbyshire.
Postcode: S40 4SD
Mobile: 07904 818993
Height: 5,2
Hair type and colour: dark blonde, Medium/long curly/wavy hair.
Eye colour: Blue
playing age - 14-18
vocal range - mezzo soprano.
Relevant education, qualifications or training:
Trinity college London Musical Theatre exams:
grade 3 musical theatre in production - distinction.
I am also currently on my second year of Level 3 extended diploma on performing arts at chesterfield college with a predicted grade of DDD.
Education and training:
Heanor gate science college - 2010-2015.
Stagecoach theatre arts Nottingham - 2008-2016.
The One school of Dance - 2016 - present day.
Chesterfield college - 2015- June 2017.
Experience:
I was a scholarship student at stage school for eight and a half years, during this time I performed over 15 different productions, at different theatres around derby and Nottingham. these include:
hnd production - the bedroom farce - college production
made in dagenham - clare - solo song ‘wossname’. - college production
big event - paid work - TIE
rent - ensemble - college production.
One of my favourite roles within stage school, was playing the lead role of Tracy Turnblad in the hit musical ‘hairspray’. This was such a great experience as it boosted my confidence when performing vocally challenging solos in front of a large audience. Another of my favourite productions was our production of sister act in which i had one of my first solo lines, this was performed at the assembly rooms to 2,000 people. this was an amazing step as treacly gave me the opportunity o have confidence in my ability.
first half physical theatre research
Physical Theatre Research
1. What is the background of both practitioners?
Rudolf Laban
Rudolf Laban (1879-1958) was born in Austro-Hungary. Rudolf was born in to an aristocratic family as his father's side of the family were French and Hungarian.
Enrolled by his father as a cadet in the Military Academy at Wiener Neustadt, he left to study architecture at the Écoles des Beaux Arts in Paris. During his stay in Paris, Laban became interested in the relationship between the moving human form and the space which surrounds it. He then moved to Munich at age 30 and under the influence of seminal dancer/choreographer Heidi Dzinkowska began to concentrate on Bewegungskunst, more commonly called Ausdruckstanz, or the movement arts spending the summer months of 1913 and 14 directing the school for the Arts at the alternative community at Monte Verita, Switzerland.
Laban was a dancer, a choreographer and a dance / movement theoretician. He is notable as one of the pioneers of modern dance in Europe. His work laid the foundations for Laban Movement Analysis, Labanotation (Kinetography Laban), other more specific developments in dance notation and the evolution of many varieties of Laban Movement Study. He is considered to be one of the most important figures in the history of dance.
Steven Berkoff
Steven Berkoff (born 3 August 1937) is an English actor, author, playwright and theatre director. He was born in East London and around this time, this specific place, in 1930's was famous for the great depression as the unemployed in Britain rose to 2.5 million in 1933. This affected a lot of people working, especially people working in heavy industry. Due to the depression at this time, it meant all these industries were shut down and workers were made redundant. Things got economically better as the time went on and during the late 1930's and as Berkoff was born in the late 1930's he was not affected by this so much as others were. Steven Berkoff and his family were Jews and at this time Jews were not completely accepted by the people around them and people in other religions and race. As they were Jewish and this was the time of the conflict between the Jews and the Nazi's, Stevens father changed the family surname to 'Berks' so they could avoid any complications with the Nazi's.
As an actor, he is best known for his performances in villainous roles, such as Lt. Col Podovsky in Rambo: First Blood Part II, General Orlov in the James Bond film Octopussy, Victor Maitland in Beverly Hills Cop and Adolf Hitler in the TV mini-series War and Remembrance. Berkoff started his theatre training in the Repertory Company at Her Majesty's Theatre in Barrow-in-Furness, for approximately two months, in 1962. As well as an actor, Berkoff is a noted playwright and theatre director, with a unique style of writing and performance. His earliest plays are adaptations of works by Franz Kafka: The Metamorphosis (1969); In the Penal Colony (1969) and The Trial (1971). In the 1970s and 1980s, he wrote a series of verse plays including East (1975), Greek(1980) and Decadence (1981), followed by West (1983), Sink the Belgrano! (1986), Massage (1997).
2. How do you think these conditions were reflected in their work? E.g. Is any of their work politically commenting on a social issue or government? Make sure you compare and contrast the background of the two practitioners, making links where possible to their work.
Steven Berkoff’s family are Jewish and therefor, his work would have been impacted by his up bringing and the war and how Jewish people were treated. This will have had a big effect on how he portrays things and his movements, as his work is a lot about movement.
One of Berkoff's plays called 'Messiah' was influenced by the second world wall as this is a signature event that happened during Berkoff's upbringing. This shows that this event had an impact of his life and this is why it has reflected on his plays.
Here is a short piece of a drama group that has devised a scene based on 'Messiah'. https://www.youtube.com/watch?v=GDSJcBoAlZg
Rudolph Laban was part of the military for a while which will have had an effect on his work. He then left to study architecture, and this will have also influenced his work. Another event that will have really have reflected on Laban's work is the 'Bosnian Crisis. This happened from 1980 – 1909 and this will have had an impacted on his work and what he produced.
As Laban got in to architecture, he got very interested and involved with the human body, and this explains why he uses the body so much within his dance movements and gestures in his performances.
As these two practitioners have different backgrounds, this is where it will show their differences in their work, especially in their movements. Although they have differences, they also have similarities. For example, they have both come from strong backgrounds being part of a war and the military and these are quite similar areas, which therefore could show some similarities in their work. The work that these practitioners produce is a strong reflection of their background.
3. What are the key features of work from each practitioner?
The key features of Rudolph Laban's work is the 'effort', 'shape' and 'drive' of a movement. Known today as Laban Movement Analysis, he also used the terms Choreutics (space) and Eukinetics (effort).
The eight efforts are:
•Wring
•Press
•Flick
•Dab
•Glide
•Float
•Punch
•Slash
For each effort, Laban identified which component parts were to be used. For example:
For WRING
• The Direction is Indirect
•The Weight is Heavy
•The Speed is Sustained
•The Flow is Bound
Laban is really well known for his analysis of his, but mainly his '8 efforts' technique.
Laban also invented a system of dance notation, now known as Labanotation or Kinetography Laban. This is another key feature of Laban's work.
The key features of Steven Berkoff's work:
All of Stevens work was non realistic, he created very abstract pieces that he could make clear to an audience that it is not realistic. He had an idea in his head of what 'total theatre' was meant to look like.
This is what Berkoff believed Total Theatre is made up of:
•Large scale mime and the juxtaposition of this with spare dialogue and phatic utterances.
•The replacement of props and furniture with what can be created by the actors bodies.
•The almost 'hieratic' leading characters, taking the audience through the narrative.
•The link within the idea of the 'Total theatre' which seeks to attract an almost spirited response from the audience through using all the resources of theatre including athletics.
•Emphasis upon the figure of the actor as the most important and creative aspect of performance.
•Berkoff has a distinctively physical style of acting with the emphasis on physical theatre and mime.
•Scenery is significant by its absence.
•Through the actors words, position and physical attitude in relation to the audience, Berkoff's characters establish themselves as 'story tellers'.
•Performances are orchestrated, the words uttered, the way they are spoken, facial expression and movement are all choreographed to inform each other.
•An actor can be visually a lone figure on stage but take on different purposes.
4. Who were their influences?
Rudolf Laban was hugely influenced by a man named Sigmund Frued. Sigmund Frued was an Austrian neurologist and psychoanalytic. Frued was the founder of psychoanalysis, a clinical method for treating psychopathology through dialogue between a patient and a psychoanalyst. A neurologist is a medical doctor who specializes in treating diseases of the nervous system. This means he workes a lot with the human body but also the human brain. Frued is well know for being the creator of psychoanalysis, but is also best known for his theories on the unconscious mind. As well as Laban being influenced from going into architecture, but as Frued was very in to the human body and mind, this is another thing that got him so deep in thought about the human body and incorporating it in to his movements. Although Laban was influenced by Sigmund Frued, he was also influenced by the cultral social events of the time he was brought up, for example, the Bosnian Crisis.
Steven Berkoff was influenced by many people, such as Jacques Lecoq and Edmund Kean. Jacques Lecoq is a practitioner that we looked at and researched in lesson and this helps us makes links to Berkoff. Jacques Lecoq, born in Paris, was a French actor, mime and acting instructor. He is most famous for his methods on physical theatre, movement, and mime that he taught at the school he founded in Paris, L'École Internationale de Théâtre Jacques Lecoq from 1956 until his death in 1999. Another person that Berkoff was hugely influenced by was Bertolt Brecht. German playwright, Bertolt Brecht's ideas are very influential. He wanted to make the audience think, and used a range of devices to remind them that they were watching theatre and not real life. This is a technique that is very similar to the way Berkoff works. They both use the non realistic way of portraying theatre and this shows how Berkoff was massively influenced by Bertolt.
study skills action plan (09/11/16)
- finish physical theatre research
- upload physical theatre blog 3
- do physical theatre blog 4
Physical Theatre Blog 6
Physical Theatre Blog 6
1.Describe the games and exercises used to warm up and why they were used.
This week we had a clowning expert in to do us a workshop on clowning. We started off with a game called bibbity bobbity boo. We had to stand in a circle with one person in the middle and they had to look at someone and shout bibbity bobbity boo, and the person they were looking at had to try and shout it out before the person in the middle had finished saying it. We played this game a few times but different variations of it. The next warm up games we played was in pairs and using a tennis ball. We had to put the tennis ball inbetween a part of our bodies and balance it and try not to drop the ball. For example me and my partner had to walk around balancing the ball inbetween our heads. Theses games were to help us get in to the style of clowning for the workshop we was taking part in.
2.How did you explore and rehearse in a safe way today?
We rehearsed in a safe way today by doing games at the start of the lesson to get us in to the routine of the clowning style. Everyone made sure to be aware of our surrounding and the people around us so we did not bang in to each other or fall, especially when playing the game with the tennis balls as it was difficult to see where we were going.
3.Describe the practitioner explored this session.
The practitioner we explored this lesson is named 'Jaque Lecoq'. Jaque specialised in clowning and was a great believer in finding your inner clown. he was most famous for his movement and mime, and taught at a school he founded in Paris. Lecoq described the movement of the body through space as required by gymnastics to be purely abstract. He came to understand the rhythms of athletics as a kind of physical poetry that affected him strongly. Lecoq aimed at training his actors in ways that encouraged them to investigate ways of performance that suited them best. His training involved an emphasis on masks, starting with the neutral mask. The aim was that the neutral mask can aid an awareness of physical mannerisms as they get greatly emphasized to an audience whilst wearing the mask.
4.Make notes on how this practitioners work has influenced theatre performance.
Lecoq has influced many performers that are now well known artists, such as, Lee Evans and Tommy Cooper. These people are very famous comedians and all their work originated from Lecoq as he was the person to discover the clowning technique. Lecoq has also influenced performances like Pantomime. Pantomime is a very exaggerated and funny piece of theatre. Clowning is used all around in panto, it is used in the script and performance, and it is also shown within the characters in the piece. For example, characters that mostly show clowning within panto are the Dames or characters such a Wishee Washee, Buttons and more.
5.What techniques did you explore?
We used many techniques during this lesson. For example, in one exercise we did, we had to pretend to speak to a big fluffy dog as if they were in front of us. We then had to stop and do it to the audience as if they were the dog. This creates a different effect because it is getting the audience involved with the performance which can add more humour. We also added facial expressions and sound effects in to the exercises we were taking part in, for example, when Leah had to follow Emily around and do exactly what she was doing but without looking at Emily, Leah found this quite hard and tiring so she started making shouting and moaning sounds which made the performance a lot more funny to watch. Leah was then told to put a nun costume on, and this also made the performance a lot more funny because she was doing actions that you would not expect a nun to do.
6.How was the practical lesson impacted on the progress and development of your skills as an actor?
This lesson has helped me understand what the clowning technique is all about. As I did not know much about clowning before this lesson, I have learnt quite a lot about how to find your inner clown and what effect it has on the audience. For example, if you do something and the audience doesn’t react to it then you know it doesn’t work well for you, whereas, if you do something and the audience find it humorous then you know it works and can continue to do what you know works. Learning this technique has also widened my knowledge on different acting styles which is better experience for me.
7.What is your feedback on this particular style?
I personally really liked this style, although I think if it is done wrong then it doesn’t work well. I feel that you have to know your inner clown before you can present yourself to an audience because if you are acting something out and you don’t connect to the audience then it does not work and can be quite embarrassing, whereas, if you know your inner clown and you know where your strong point is then the audience should find anything funny and really be able to connect with you and your performance.
8.What are your strengths and weaknesses in this particular style?
Strengths:
Interaction - I feel that I interacted with everyone
Communication - for example, when playing the game with the tennis ball, I used good communication skills with my partner so we knew where we were going and our spatial awareness.
Weaknesses:
Confidence - I did not have the confidence in some of the exercises.
Taking part - I did not want to take part in all of the exercises, this is because of my confidence.
Evaluation of the workshop performance
1.What feedback did you receive from your tutor and peers?
At the end of the lesson we reviewed what had been done in the lesson and all said how we had enjoyed the session. We did not get individual feedback.
2.How will you use this feedback to develop your strengths and weaknesses as a performer?
As we did not get individual feedback, it is hard to say how I will develop my strengths and weaknesses, although next time I will try to take part in more of the exercises and this will then help with my confidence.
action plan for study skills
finish physical theatre blog 2
finish physical theatre research
coursework to do list
physical theatre blogs 345 and 6
physical theatre research questions 2-10
upload peer reviews ( they are complete though)
pantomime research part one
pantomime research part two
pantomime blogs 1 and 2
Physical Theatre Blog 4
Physical Theatre Blog 4
1.Describe the games and exercises used to warm up and why they were used.
The warm up exercise we used this lesson was very simple but yet fun and effective. We started off by walking round the room and each time our teacher Ross would shout an instruction out and we would follow the instruction. For example, he would shout something like 'stand on your favourite spot in the room'. We then got in to two groups and acted out two different scenes, one was a train and the other was a forest. We did this at the start of the lesson to get our bodies and muscles moving.
2. how did you explore and rehearse in a safe way today?
Today I made sure I was the correct clothing for this lesson so I could make sure I could move all parts of my body to their full potential. We also made sure we had a matt if we did any partner work/lifts to protect ourselves on the landing. I also made sure that I was wearing the correct foot wear and if not I would take my shoes off if they were not suitable.
3.Describe the practitioner explored this lesson
The practitioner we explored this lesson was Steven Berkoff. This style is all about detail of movement and surrealism. Berkoff uses a cockney accent in his style but also uses a shakespearean language which is very effective and works very well. Berkoff trained in drama and mime so he is very well educated in these areas and now has his own style of acting.
4. make notes on how this practitioners work has influenced theatre performance.
Berkoff's technique is now being used and explored by many theatre companies. Many people are now doing performances using this technique and thinking about the detail of movement in the performances. We watched a few videos in class this week of performance done by companies that use the Berkoff style.
5. what techniques did you explore?
The techniques that we used this week were the techniques within the style of Berkoff. It is mostly concentrated of the detail of the movements you carry out and thinking about moving every part of your body and connecting your movement to your character and the scenario.
6. how has the practical lesson impacted on the progress and development of your skills as an actor?
This practical lesson has helped me as an actor because it is a new style of acting that I have not learnt before, therefor, I have now studied this technique and have a bigger variety of acting style that I have been educated in. It has also made me think about how I perform and the different ways I can perform using this style and others.
7. what is your feedback on this particular style?
I think this is a very interesting style to learn because it is very detailed and is all about the movement of the body. I feel that I have learnt a lot from studying this technique and I feel that i have been able to pick it up easily as it is about movement and I use a lot of movement through my dancing, therefor, I find this style quite relatable.
8. what are your strengths and weaknesses on this particular style?
Strengths:
Creativity - I have had many ideas to contribute to the group on this style.
Focus - I have been very focused throughout the lesson and focused on learning the style.
Teamwork - I worked well in the groups this week and worked as a team player and not just an individual.
Weaknesses:
Ideas – although my ideas were quite creative, I did not have many of them and feel I could have contributed more.
Physicality - I feel that I need to work on my physicality to fit this style.
9. what from today are you going to keep or explore for the workshop performance?
As we have not started rehearsing our pieces yet there is nothing to keep for the performance. We have briefly read through the script that we will be using to base our performance on, but have not yet started to put together the performance.
10. What are your ideas to develop this style in to a piece of theatre?
As I do not yet know a lot about this style, I am not too sure on how I would create a piece of theatre on this style. Although, I think adding all the detail of movement in would be very effective for this piece. I also think it would be good to interpret some small sound effects in to the piece as this would go well with the piece.
11. Do you need to do any further research to help understand and develop your practitioners style?
I think doing some further research in to this style would be very helpful for me. I will research the background of the script more and what it is about. I will also do further research in to the practitioner and who he started to develop his work as this will give me a better understanding of this style.
