Monday, 28 September 2020

28/09/20 matching Psychosis to music and finding our second script

 decided on copycat by billie eilish

decided on noises off by Michael frayn

In today's rehearsal, we decided to continue working on 4.48 Psychosis, and worked on our physical theatre a bit more. We felt it was important to match it with some music, and we chose 'COPYCAT' by Billie Eilish. We chose this song as it has quite an impactful bass, therefore it will match well with the Frantic Assembly style of physical theatre (with each movement being quite quick and joint). It also has a good variation of pace, therefore we can speed up and slow down our physical theatre. We rehearsed this and ended with this...

After rehearsing this, we finished by choosing our second script, which will be 'Noises Off' by Michael Frayn. Here is an online synopsis...

Noises Off is a play in three acts, showing what is happening on stage and behind the scenes while a chaotic theatre company is performing "Nothing On."

Act one shows the group during the dress rehearsal late at night. However, with only a few hours before the premiere, things run anything but smoothly. Dotty, for example, keeps forgetting where to take and leave her props, while other actors forget their lines and struggle with a faulty set. For example, doors that should open won't open, while doors that should close won't close. Therefore, Lloyd, the director, starts to lose his temper and resorts to sarcasm. As if the disorder were not enough already, Selsdon, an older actor with a drinking problem, keeps getting lost. Slowly but surely, the actors' relationships deteriorate and leave the audience wondering if they will get their performances right during the actual show.

For the second act, the stage is turned around, so the audience is able to see what happens behind the scenes during a midweek matinee a month after the premiere. With plenty of slammed doors and hostilities, it is clear that the actors' relationships have become dysfunctional, which also affects the production, as cues are missed, lines are forgotten, and actors are unwilling to turn up.

The third act takes place during the closing night performance of "Nothing On." The play and the characters are barely holding together, as personal feuds escalate and none of the actors seems to care for the production any longer. In the end, the disaster is sealed by the curtain burying the actors on stage.

"Nothing On," the play within the play, is an English bedroom farce. Roger Tramplemain, an estate agent who is in charge of renting the Brent's house, has a rendezvous with Vicky, pretending that the house is his own. However, it turns out that the housekeeper, Mrs. Clackett, is still around because she wants to spend a quiet afternoon watching TV and eating sardines. Later, the house owners Philip and Flavia Brent come back unexpectedly to make out as well. They have to keep their presence secret because they are trying to avoid the revenue department--and miss running into the other couple several times. In the end, a Sheik who is interested in the property arrives, as well as an elderly burglar, who turns out to be Vicky's father.

Sunday, 20 September 2020

21/09/20 Finding our second piece + first rehearsal

 On Monday (today), we have 3 lessons split into p1, p5 & p6. In period 1, we immediately decided wanted to perform 'Psychosis' by Sarah Kane, as we had performed it the previous week and we created some quality while doing it. Last week, we performed it in the style of the theatre practitioner, 'Artaud', however the other group decided to perform it in that style, therefore we are looking at taking influence from Frantic Assembly. We also researched different texts and tried to link a practitioner to this text, however we found this task quite challenging as none of the scripts we had fitted our goal. One script we spent a while reading and watching was 'Accidental Death of an Anarchist' by Dario Fo. Although we found his slapstick style of comedy funny, we felt is would be difficult to execute, therefore we decided not to look any closer into this. We are still in the process of finding our second script.

In our final two periods of the day, we rehearsed Psychosis, we did a script read and we cut chunks of the script that we didn't want/need (and that prolonged it over the 20 minute mark). As this performance will be delivered to year 11's and year 12's, we felt it was necessary to cut the most graphic scenes. After this task, we set up a rehearsal schedule, choosing to rehearse after school on Tuesdays and Thursdays, and then frequent lunchtime slots. This gives us enough time to feel comfortable in preparing a dress rehearsal for the week before the performance.



Thursday, 17 September 2020

17/09/20 Introduction to 4.48 Psychosis

Today we worked on a very unique script, called 4.48 by Sarah Kane. I was not familiar with this script to begin with, however, after reading it briefly, I recognised a certain monologue within it that had been performed by Emma as a GCSE piece. It is an extremely abstract piece of theatre however we felt it was very engaging. It is definitely a script we will look at using for our final performance for this unit. We used Artaud for this piece, as his style fits well with the dark tone.

Wednesday, 16 September 2020

14/09/20 Group Work Practitioners

 Here are the scripts we looked at in todays lesson:

  • DNA
  • IT'S NOT ME IT'S YOU
  • EAST
Here are the scripts we looked at in todays lesson:
  • Amelie - Peter Brook
  • Louis - Craig
  • Silvana - Brecht
  • Seth - Fo
  • Hugo - Stanislavski
  • Emma - Pinter
  • James - Antoine Artaud
  • Tristan - Jerzy Grotowski
All different practitioners gave me an intake into the different aspects and elements of directing and performing theatre, looking at a contrast of comedy and darker theatre styles. Our task was to split into 2 groups and decide on 1 script to look closer at, and then link practitioners to it, to then produce a short piece of theatre to perform in the afternoon. My group chose to mix Artaud, Brecht and Fo with the 'DNA' script. After audience feedback, we learnt it was a successful performance, making the audience uncomfortable. I enjoyed this style of theatre as it allows an actors and directors ideas spiral, meaning no performance will ever be the same. If I was to do it again, I would take inspiration from the other performance, alternating where to position the audience. This was effective in their performance because it made us feel intrigued yet uncomfortable (while lying on stage).

Sunday, 13 September 2020

14/09/20 Edward Gordon Craig

 Craig

  • Theatre practitioner
  • English actor
  • born 1872, Stevenage
  • died 1966, France
  • Craig's idea of using neutral, mobile, non-representational screens as a staging device is probably his most famous scenographic concept
  • Known for his intricate set designs
  • In 1975 The Gordon Craig theatre was built in his hometown of Stevenage
  • As a designer, the sets he built and designed were made to be extremely symbolic and he was the first person with the idea of moveable screen / scenery (hinged flats which could be used inside and out).
  • Edward Gordon Craig believed that a director was “the true artist of the theatre” instead of the actor


14/09/20 Berkoff

Berkoff

Who was he?
  • Born in 1937 in London (currently 83)
  • Actor, Playwright and Theatre director
  • Partner: Clara Fisher
  • His family is Jewish, with roots in Romania and Russia
  • Berkoff attended Rain's Foundation Grammar school (1948–50),Hackney Downs School, the Webber Douglas Academy of Dramatic Arts (1958), and L'Ecole Internationale de Theatre Jacques Lecoq (1965)
Awards and Honours

  • Kvetch (best comedy) - Evening Standard Theatre Award (1991)
  • Total Theatre Lifetime Achievement Award (1997)
  • Shakespeare's Villains (best entertainment) - nominated for Society of London's Theatre's Laurence Olivier
  • East (best ensemble work at the Edinburgh Fringe Festival) - 1999
  • Shakespeare's Villains (best solo performance) - LA weekly Theatre Award (2000)
  • Messiah (Scotsman Fringe First Award) - Edinburgh Fringe Festival (2000)
  • Secret Love Life of Ophelia - Bank of Scotland Herald Angel (2001)

What sets Berkoff apart from theatre is his focus on non-naturalism, his attention on movement rather than voice. As an actor, director and playwright and general non-conformist, Berkoff wanted to shake naturalistic theatre and encourage experiment using the idea of Total Theatre. He believed that the only purpose of a script is to help minimalise and physicalise the story; stripping it down to the bare components. Steven Berkoff said that his career owes much to his training as a physical theatre practitioner, but perhaps equally, to his working class origins, which, he maintains, give him a different perspective to those around him in a predominantly middle class profession. The aim of Total Theatre is to create extreme moods to give the audience an overwhelming experience and to shock, amuse, scare, or amaze them. Total Theatre maintains that every aspect of theatre must have purpose: every movement, that is choreographed; to each line, that is learned perfectly; to each lighting effect, that is used to convey a mood or message; to each sound effect, that enhances the audience’s experience; to each prop that has a use.