Fringe devised ideas

I didn't have many ideas after we separated earlier. I think the obstacle I have preventing me from producing and developing work is the fact there is no objective for the show. We can all create work from a given subject but if we don't know what the objective is then we have no purpose to work towards. After some thought I think this is where we are struggling as a company. I believe many ideas have been thought up since we split earlier but I fear the same problem will arise again.
I do realise this is my opinion now before we regroup and discuss ideas.
I have been thinking more about our objective rather than new ideas.
Suggestions to spark ideas:

The audience are the government and they have power and control with or without realising it.
The piece is called 'In The Red' so as there are a large number of red chairs and small number of black chairs, the colour of the chair that an audience member sits on could determine whether they have the power or not to control the show (a red chair representing debt and a black chair being safe). It would be a nice revelation if the whole audience didn't know they had any control at all until the very end.

The other suggestion I have is Forum Theatre, anyone who doesn't know it, it was created by Augusto Boal as Theatre of The Opressed. A scene is acted out and then repeated but with the audience being allowed to shout "stop" at any time to replace the opressed one and put right what's wrong.
Here's a link with a proper explanation: http://dramaresource.com/strategies/forum-theatre it is used in schools but still great interactive theatre where the audience has control and can change the situation.

Once we have an objective, we can then all work separately or in groups if prefered, knowing we're all working towards the same goal and then everything should fit together nicely.

From Bronnerz, by Blade!

In the red

self assessment unit 10

Criteria

1. Intelligent & balanced awareness of personal potential within the industry.
2. The ability to create and present relevant and useful work for the venue,

      through application of a wide range of techniques and skills in the development

      of the production.

3. The ability to collaborate sensitively and fruitfully in creating quality work

      for public consumption.

4. The ability to work, during both rehearsal and production, observing

      creative and logistical communication systems and processes, in a

      professional and productive manner.

5. The ability to manage as part of a team the creation and professional execution

      of an event – with reduced need for direction and increased autonomy.

Where are we tomorrow?

Please help, Unit 10

Hi can someone please help me by giving me some information on the work that needs to be completed by tomorrow, I know that 3 reviews have to be written but don't know the exact requirements for these. If the deadline is 4pm then please can I have some info so I have enough time to write them. Thank you.

Unit 10 written component

Hello, mainly a message for Dan,
As I was absent yesterday I was wondering if you have any notes please that you could post on here about suggestions and requirements of the Unit 10 written component. This might also be of use for others.
Also what kind of word count is expected for the reviews or is it just how a typical review would be done?
One last question if there are no notes, is the written part to focus on Ropetackle or the Shorts and if the Shorts then would it be the whole show or just one play? (and our own play or someone else's?).
Thanking you in anticipation.

this week

hello all, i'm sorry that the blog announcement was not clear on today. You are with Dan Smith tomorrow to work on the written component for unit 10. Please meet in the bar at 10am. 

The rest of the week you have off to complete the writing and begin designing your infographics or at least, what information you want to include in them. The deadline for those has been moved to 2 weeks from the original one so we can get more taught sessions in to support you. The new deadline for that component is Friday May 10th. If you do want to work on your festival shows this week,  i will put up the rooms available. Also, first years' devised show on thursday and friday matinee and evening. Next taught session after tomorrow will be following Monday on the festival pieces.

Thanks and apologies

Well done

Well done all. Really enjoyed the shows. Lots of good feedback from audience and Steven Hevey.
This year so far has been so many projects one after the other professionally worked on and delivered. I hope you enjoyed and learnt lots from the process. Brighton festival next hurrah!
Please check the blog over the weekend for updates for next week and deadlines.
Tuesday is with Dan Smith at Durrington writing workshop on the three reviews you have to submit for unit 10.
Think about possible sites and publications you will choose to write for hypothetically.
Looking into moving the deadline for the infographic as you have requested more support and time.
Please check blog for more info before Tuesday.
Well done have a great weekend.

Notes from show 2

Show 2;
Baggage-
Blade do not start talking until R has completely left the stage.
B- need to work on vocal exercises to deepen tone of voice and try develop more male charateristics.
g- "what life would have" look at mum.
B- "I'll get YOU a chair" reaction to R taking your chair.
G- when you and R are chatting be nagging him it's good to see sister nagging brother.
B- sit straight down when R comes on stage have a moment of pure eye contact.
G- look at watch to see the time when R asks
G-moving from mums side to R on "Kevin" is awkward it looks wrong stay mums side longer and move later
The transition at the end was too loud and clumpy

Dark Matter-
Great connection between the two of you.
You both need to work on your comic timing, ie letting audience members laugh at the parts that are funny before cutting them off.
Alex- need to be getting more angry on "no, you are lost"
A- pause before "bitch" after bit me.
Both- the slap was perfect
A- the ending don't work at all
P- there are moments when you should zone out.

Millennium-
Gwen - Need to slow down your dialogue at the beginning
Shaun - When running on, be careful not to fall over
Frost - Your energy is much better
F - Need to work on your hair, due to lots of running around and energy it goes back to George hair
S - Need to be more quiet off stage
Antonio - 'As a species' needs work
F - Lost all the meaning 'you've got something on your face' it needs working on
F - Too dramatic after Gwens exit, it's not needed

Every Bit-
Great characters, the two of you together work really well Y and R
Yiannis - From 'Act 1' you lost all te enthusiasm
Y - 'Pure Sex'
Radley - Need to work on 'line change' line
Alex - Cut off the conversation with 'Accident'
Y - Shout 'Laticia Fox' from off stage, interrupt them
All - Needs more energy and confidence

Coming Up-
Shaun - Running onto the stage in robe doesn't work
Antonio - Still had blue eye make up on, not good
A - 'Shed go mental if she found out' diction!
S - Slow down your dialogue
A - 'Is it' needs work
A - lost all of 'shit, is it a gay bar' don't put hands to mouth
S - 'Found them' when you pop up
A - mind out where you are standing, you are blocking S
A - 'Pages of history' much louder
A - Exit off stage with S

Monologue-
Don't come on till towards the end of Coming up
Samantha - Stepping into 'I know I'm too old' V good
Both - Lots see more of a reaction to each others faces when you look at each other. Make it bigger.
Sophie - Laugh before/during 'He laughed' not after
Both - Slow down when raising and lowing arms

Feedback from 14.00 performance 18-4

Show 1: 2pm

Pre set:
Very good, Radley look at Yiannis.
Gwen - make sure that it is a mag and not a paper.

Baggage:

There is comedy in there that we didn’t realise.
Blade - good volume make sure it stays that way throughout.
B - Russia and US line quicker in.
Gwen - when talking to B at start, comfort mum: don’t just sit there.
B - If audience laugh, then pause.
B - ‘I’ll get YOU a chair.’
G - Good recovery with prodigal son line.
B - Need to work on your lines- not 100%, need to be more confident with them?
Radley - the audience were laughing before you came in, make sure that you let them laugh. Allow them time.
R - Well done with newspaper the snatch worked.
Catia - don’t be too dramatic with the coughing, bring it back.
B – ‘Prick’ line, great

Dark Matter

Great volume, great speed, you’ve really taken all the feedback and constructive criticism that I have given you on board over this process.

P – ‘You should be because you look like one’ wait, that line was completely lost because you said it over the audience laughing at the previous line

The two of you are creating a great relationship with each other, let’s keep developing it, and don’t let all the hard work that you have put in over the past few months go to waste, it is a good scene, still not perfect though and I will happily keep working with you, with it to carry on developing it.

The scene is getting stronger and stronger after each run/performance, let’s carry on that motivation and we will have a mind-blowing massive success by the final show.

Millennium

Frost – Need to get a different top – Beatles were not 90’s

Shaun – You know exactly how to play the comedy with an audience, the comedy timing is really great and is something for everyone else to aspire to, well done

Antonio – Need to work on your diction. Good characterisations in total though, and I really think that you have developed a great character

A – Wait for the ‘Pac man’ line, it’s funny. Don’t let it get swallowed up by the audience

Gwen – Do not fancy either of the other characters, besides G. You just want to go to the party, which is your goal.

A – Be physically manic and uncontrollable butt not vocally, you need to make sure that you are in 100% control over your voice, every work and all of the pronunciations of all of the words

We are having a big problem with dialogue being skipped by the entire cast in this scene, I acknowledge that it is difficult to get the exact words from the script onto the stage, but that’s what needs to happen.

Every Bit of my Love

Yiannis – Need to play old film titles more, pause, let the audience react and realise what you are saying

Radley – Use the newspaper as genitailia

Radley – Make sure that you are saying the exact words that are in the scripts, you have a habit of changing words/ phrases which therefore bring a whole different take on the scene

Y – ‘Alice in Underpants’ louder

Nicole – Look at R hand in disgust when you are offered his hand to shake

N – Do not be afraid to hold onto R genitals for as long as possible, the awkwardness works in the piece

Catia – Start your dialogue straight away while doing the sexy bit

Coming Up

Antonio – The word is ‘Incense’ you need to work on your diction for this entire piece, it can be seen in this word

Shaun – You also need to do work on your diction, slow down the pace of your dialogue, open your mouth wider and take deeper breaths before, while and after speech

S – They are MY work trousers

A – More clear with ‘pages of history’ line, it’s funny but getting swallowed up by not being loud enough

Monologue

After every time that you look at each other, be scared of what you see, the fact that your refection is moving is a quite disturbing thought, even more so if you think that maybe they have different brains? Different minds? Make different decisions? Create/have different feeling within themselves and an audience?

Sophie – How to stop hair from dragging along your face?

Today/Tomorrow

A really great day today, with two totally different audiences giving two totally different reaction that we can work on and develop!
Congratulations on two brilliant performances, lets make tomorrow doubly good though.
Tomorrows call is Midday, though, I will be at Northbrook from 11am if you want to come in and get personal notes and practice scenes.
I will be uploading notes from this afternoons performance this evening and I shall then upload notes from this evenings performance onto the blog tomorrow afternoon, once I have spoken to you all.
I'd very much appreciate it if you please read my notes so that we an have conversations about them tomorrow.
I have given you all a late call for tomorrow so that you can all be well rested.
Due to the late call, and opportunity to come in early there will be no valid excuse for being late, I will be getting understudies involved if actors do not arrive on time.
Thanks again for a great day today and I look forward to tomorrow.

shows today!

Have great shows can't wait to see both tomorrow.

Be brave, enjoy and feel proud.

Notes from 15.45 dress run 17/4

Baggage

Blade + Gwen – Still not fluid enough at the beginning, need to make 100% sure that you are positive with your line and totally confident with them

B – Project your voice more; use vocal warm-ups and breathing exercises as tools to do so

B – Try tongue twisters vocal warm-ups and breathing exercises to try and deepen the tone of your voice

B – When bringing the chair on, put in next to the other one

Catia – very good, proof that ‘there is no such thing as a small part, only a small actor’

Radley – Add bistro to phone

R – Stand at mum’s feet while calling Victoria

G – Good fidgeting, make sure your mum is safe and comfortable

B – Loose the rings on your fingers

G – Project your voice when arguing with R

R – When you sit down next to mum at end, take jacket off ‘I am here to stay now’

Dark Matter

Paige – great volume at beginning, though went quiet towards the end, need to keep it at same volume, unless directed otherwise

P – make sure that your hair is out of your face

Alex – The slap needs more work to try and get the sound that is requires

Millennium

Frost, Antonio + Shaun – Need more energy, you are all on drugs that make you high and frantic, more for A + S

A – Come in quicker with your knock

S - Do not talk off stage

S – Run to Gwen, you are afraid of the knock

Gwen – Louder!!

A – Need to sort out costume

A – The line is “Have you come up yet” not “Has it come up yet”

F – Make more of the ending, stay on stage until 1 min into the next scene

Every Bit of My Love

Yiannis – How can we prevent you getting a nose bleed? What was it caused by?

 Y – Make sure that you are confident in your script, in your opinion; it is the best thing in the world

Radley – Acknowledge Y when he is miming the sexual positions

Catia – Fantastic presence when you walked on the stage, was really brilliant to watch

R – Do your dressing gown up when you see C come onto stage the second time

R – Don’t forget to say that you are a couple

R + Nicole – The practice rehearsal is hilarious, very good

R – Tyr not to lose your line and definitely do not EVER break character

C – When you come on with dressing gown, do it fully up so that we cannot see the thing inside it

C – When being sexy, undo R dressing gown

Coming Up

Antonio – Need to work on your line, making sure that you are 100% confident and secure in them

Shaun – Sit next to him when you apologies

S – When say ‘the lads’ punch him gently on the arm

Yiannis – Need to be wearing a tie or doing your shirt up while the play is going on

Y – Very good, keep confident and strong status

S – The awkwardness is brilliant, you are playing it well

A – Play with the “shit” line more, more worried that he is a police officer

Monologue

Both – Need to preset and come on the other side

Both – Don’t forget that this is not written for a performance, it’s just a monologue talking to her mum about a horrible thing that has happened.

Sophie – Louder with the shouty line

Samantha – Quieter with the ‘Fuck’ line

Notes from 11.30 tech run 17/4

Baggage

Blade – Need to be louder, esp. at start while music is on

B + Gwen – still needs you be more snappy, don’t worry about cutting each other’s lines off a little and often

Radley – Get some money out for B, B ‘I don’t want that dirty money’

Catia – No glasses

R – Read the paper until “hello mother”

B – While G+R are arguing, pay attention to mum, faf with her feet etc

G – “YOU left her with US”

B – End sandwich line much louder

When leaving the stage, need to be quieter

Dark Matter

Alex – Slow down your dialogue, there is a lot of meaningful dialogue in there that is being missed being it is too quick

Paige – Good with closing eyes, open them on “why am I lost”
‘So, you are a stalker’ is a comical line, play it more to audience
Pause before ‘don’t look at me like that’

Millennium

The bed should be made

Gwen – Not so laid back about Frost having taken drugs. Does it anger you? Upset you?

During Tom’s entrance, it was sloppy; people forgot line, and too slow overall.

Frost – Don’t forget to clap to turn on lights
Do not touch the stereo at all, it is an unused prop

Antonio – Diction needs work, try some tongue twisters
A – “double drop” line needs to be much louder

Shaun – Shout for ‘Ewan’, he will die if he is not under the tent!

F – Need to make sure that the candles are used and in the right times

Every Bit of My Love

Radley – Need to be much louder throughout the entirety of the play

Catia - To be much louder throughout the entirety of the play also

Yiannis – When you are naming the films that ‘Jack Hammer’ has already been in, look out to the audience, it is an obvious pun but one which is very important for the play to develop in the correct way

R – Use the script to symbolise Machines genitalia

R – ‘Call me a crazy son’ van afford to be bigger and bolder

C – Please work on your diction, use some tongue twisters and vocal warm-up exercises to warm up and help your voice

C – Don’t forget to attack R on “what do you want Ian”

C – Need a make-up bag

R – Use more baby oil and spread it across your arm, trying not to spill it on the stage

R – Put the lube and Deep Heat on the table, out of the way

Nicole – Need to work on your lines, making sure that they are 100%

C – When being sexy, walk slower and talk louder

N – Very good acting while sitting down on chair, use table if you want too

C + R – while kissing, try and create some movement to go with it

Coming Up

Antonio – Need to work on your diction and pronunciation of certain words

Shaun – Need to work on your lines, making sure that they are 100%

A – Fidget more; be nervous about asking your dad for money

S – More masculine from “I watched this film” and onwards

Yiannis – Need to be louder, project your voice

S + A – What is the connection between father and son? Do you see eachother often? Do you love you mum more? Visa-Versa?

S + A – Skipped a load of line “Ben is his nickname” bit

Monologue

Both – You both need to be preset at the beginning, like all the rest of the scenes are, if you are not then it completely ruins the feel of the entire show, it should be the same staging idea throughout

Notes from dress rehearsal

The preset 'Every Bit' actors walking off their set seems an unnecessary distraction. Maybe lose it?

Baggage

Gwen - is there a reason for you getting off your chair to make the call?

Blade - "I'll find you a chair" just go and get one, don't look around the room

Blade - don't over egg your business with the grapes

Radley - beware of acting when not on the rostrum as you are not well lit and it looks messy!

Blade and Radley are sandwiched in a bit on SL - is there any chance of shifting Gwen forward a bit so that the bed can be angled round a little to give them more space?

Blade - sitting on the end of the bed in the way that you are doesn't look natural, it looks like you're just making room for the other two (which, if course, you are but we don't want the audience to see that!)

Is there any chance of the bed movement during Dark Matter being done in less light? It's distracting

Dark Matter

Alex' costume is similar in style to Blade's (short-sleeved chequered button-up shirt) - is this a conscious decision?

Alex doesn't want to go but he's already got his shoes on and laced up - mixed signals!

Alex and Pauge sit closer together - you are a couple after all!

Whole scene needs to be a bit more light-hearted from the outset - let it grow more sinister with the lighting changes

Alex - "I'm an hunter" puff out your chest, don't just let standing up be your only method of attempted physical domination

Paige - be genuinely offended by him calling you a bitch

Paige - "weak, pathetic little boy" needs to be more scathing, intended to hurt Alex

Millennium

The music playing at the beginning isn't Wonderwall...

Gwen, your character is much stronger now. Good work

Work out how many claps the light requires!

All of you be aware of where the audience is

George - less flappy when Gwen walks away

Sparkler noises?

Every Bit

Radley - less perturbed when saying "got it" after the 'vibrators' line

Radley - "can I suggest..." more unsure, this is a big liberty to take!

The scene doesn't have cohesion at the moment. At first it's OTT and camp, then when Catya walks in it turns into a serious soap opera. Some definite artistic decisions need to be made. I know it's late on but the scene still needs work!

Radley and Yannis - only move around the stage when you have a reason to do so!

Nicole - nice characterisation but you're coming across as TOO shy. Regardless of her inexperience, signing up to do a porno is hardly the decision of a sheepish little girl!

Radley - why do you smell her armpit? In a seductive scene, sniffing her neck would be more appropriate

Nicole - enjoy the innuendos in the language ("sucked", "coming") these can afford to be a bit more OTT!

Nicole - wait until you're onstage until speaking

Coming Up

Sean cant be setting up the scene while lit!

Sean -"you know what, haven't got any bread, shall we go TGI's?" all needs to be one thought, a complete plan

If someone forgets lines, you need to get yourselves out of it! This comes from knowing the lines/scene back to front!

Antonio - if the phone doesn't go off, then anticipate it. You could remark that you feel it vibrating next to you or something!

Antonio - "your name's not Paul. IS IT." ("Is it" is a rhetorical question as you already know the answer!)

Yannis - when talking alone to Sean, you keep looking down to your left for some reason and its distracting

Sean - "it's short for...something" move straight on from this, you don't wanna get caught out!

When Antonio tells Sean that he knows, the pace in the scene needs to change

If there is no card then don't mime it! Just continue the scene without it

Scene is far too quick at the end, really slow it down

Monologue

The music is completely unnecessary - the scrip will hold the audience on its own! I know it's a cliche but less really is more in this scene

Girls - there's not too much to say to you guys really! You've clearly though a lot about this scene and it works wonderfully. Just make sure you don't let it get any grander or more emotive than it currently is, the subtlety really works

Take your bracelets off. They're reflecting the stage lights and detracting from the scene

When your raise your arms near the end, spread them out a little more as well as forward, otherwise you're masking your own faces!

Curtain Call

Entrances were messy

Vanessa notes tech

Radley why move her somewhere private?

Blade keep looking at sandwich earlier?

Alex, try blinking less?

Paige I don't understand less harsh?

Very dark

George hug to Gwendoline not sure what relationship is

George why so confused about the tent? Or shocked that he has taken something?

George don't mock the song

Antonio diction!

Antonio why did you come in the room?

Gwendoline who do you fancy?

Need to make more of the tent

What happened in the tent to get something on your face? Did you kiss one of them?

Radner good setting up unsure from the beginning

Quite a bit shocks you about the script Radley. Why?

Noisy high heels don't walk and talk

Radley I'm a man, is this another speech? Another role? It comes too easily.

Is kissing fake cos that is what you're used to? Or should it be more tender?

Steve gently with the actors!

Shaun better much subtler

Are you looking towards other room for yuan is?

You can tell me I'm your father. Mean it, change pace and mood to tender and sincere?

Antonio, keep your dressing gown on seemed very insincere

Phone didn't ring!

Your names not Paul get right inflection

 Can see you hiding behind sofa

Why standing all the time? Seems unnatural

Last explanation to Antonio, again find the honesty and tender really try to get through to him

PizZa sorry? It's not a weird thing he is saying

Last I know is funny

Cinderella music takes away the poignancy I would really consider losing it.

Sophie and Sam, yesterday subtle and understated. Beware of emoting. Best when subtler

Sophie last speech too emotive

Don't you sophie 

emphasis much more effective yesterday, less tender

What is Pinocchio line?

Steve gentler with directing actors!

video tutorial on glogster

http://www.youtube.com/watch?v=8A_cpnR1DCM&feature=youtu.be

Notes from 15/04/2013

Baggage; Dark Matter; Millenium; Every Bit; Coming Up; Monologue

Notes for Baggage

Stage dimensions?

How long after the lights come up does the action commence? Freeze-frame?

Blade – not too concerned by the ‘eagle and the bear’: do you really believe it?

Gwen – ‘God’: more sarcastic

Blade – more natural movement: less contrived

Blade and Gwen – you need to listen to each other; react to each other’s lines

Blade – why are you avoiding eye contact with Gwen?

This is a funny scene: try to eke the comedy out! These siblings could be a real double-/triple-act!

Blade – don’t mistake your character’s docility for lack of energy

Radley – “pissing your money up the wall”: funny!

Radley – “when did you last see a doctor”: make sure it’s in reference to your mum

Radley – distinction between each attempt to communicate with your mother

Why does Blade hold Gwen back? It’s not like she’s about to hit him! And then why stop?

Gwen – we need to see the moment of change as you begin to forgive Radley

Radley – “I’m not leaving”: definite, more defiant

Dark Matter

Paige – let the other person speak (on the phone)

Alex – more unsure

Paige – much less perturbed by his decision not to go: you’re annoyed but not concerned that he’s going crazy just yet!

Paige – “are you saying you don’t like the way I am?”: more offended, less quizzical

Alex – “pretending not to see the…”: needs to be less ‘prepared’

Bigger build-up and pause before I “shall I start”: is a funny line!

Alex – get more frustrated by Paige’s unwillingness to play along

Paige – what are you looking at?

Alex – point out ‘the bush’

The fight is far too contrived, as is the slap

Millennium

Gwen – you look terrified! George isn’t meant to be scary

Gwen – less ‘whimpery’ when talking about the Millennium; more assertive. Your character is fairly strong-willed when she wants to be

George – don’t seem so unsure about the poem: it may even be that character has learned it but requires the paper halfway through

Sean – careful of downward inflection: especially on the “fucking…” line as it loses sense otherwise

Gwen – more fed up than pleading? “Exactly!!”

Antonio – diction!! I thought you said “rock and roll analogy”, not “a fucking Roman orgy!

Antonio – why the contrived mime with the camera?

Antonio – “I told him not to double-drop!”: more assertive

Antonio – run away after “I shagged your sister”: you don’t wanna wait around for George’s reaction!

George and Gwen – more pause between your last couple of lines

Coming Up

Sean – needs to be more panicky, maybe fetching Antonio’s coat or something?

Antonio – keep looking at Sean in constant disbelief

Sean – far too relaxed when sitting down

Sean – we need to see the internal struggle, your character’s trying to be a good father despite hiding a big secret from his son

Antonio – be aware of how far away Sean is with regard to how loud you have to shout to him (“keep your dressing gown on!”)

Sean – bigger pause after Samurai

Yannis – finger click “in accounts” is too obvious a giveaway

Antonio – don’t just step back to let Yannis sit down unless it makes sense: the blocking overall feels messy and stilted

Sean – don’t let Antonio upstage you

Sean – “short for...something”: longer pause as this echoes the previous line

Sean – “he told me he was a policeman” then remember his card is in your pocket

Sean “I don’t think your mother would appreciate it. Do you?”

Every bit of my Love

Radley – pause before “Ian Meade”

Yannis – “technical difficulties”: don’t use your pinkie!!

Yannis – “you and the Machine…”: stay away from Radley. Use repetition.

Radley – “that is the most beautiful line…”: more dramatic

Catya – slower and more deliberate delivery all-round

Radley – when Yannis goes to say your finale line, act annoyed that he’s clearly not listening to you

Nicole – “Oiling the machine”: don’t act offended by this line

Nicole – check the script! Your character’s acting is meant to be wooden

Crime and punishment auditions

AUDITION NOTICE
Saturday 25th May 10.30 a.m. in the Lewis theatre foyer.

‘CRIME & PUNISHMENT’ by Fyodor Dostoevsky
adapted by Marilyn Campbell and Curt Columbus

Playing dates ; 12 – 19 October 2013

We are opening our 75th Season with this award winning adaptation of Dostoevsky’s novel. Considered to be the world’s first psychological thriller, it is a gripping detective story with a fascinating, complex central character. Set in St Petersburg during the mid-nineteenth century, it revolves around Raskolnikov – an impoverished student who kills an unscrupulous pawnbroker, arguing that he can use her wealth to perform good deeds and counterbalance the crime while ridding the world of worthless vermin. His belief that murder is permissible in pursuit of a higher purpose is undermined by a growing paranoia that isolates him from mankind, nature and truth. With no evidence to convict him, his ultimate confession is an act of redemption. He has been described as “a timeless, rootless, disillusioned angry young man (whose) own existential problems are especially relevant today.”

This adaptation has been extensively staged in America and is performed on a minimal set by three actors. It runs for ninety minutes with no interval.

Characters

Raskolnikov (20’s -30’s) The protagonist referred to above. He combines intelligence and arrogance with anxiety and self-loathing. Cold, calculating and compassionate in equal measure. He is on stage throughout.

Porfiry (40’s – 60’s) The detective who has no evidence but becomes convinced that Raskolnikov is the murderer. He breaks down his bravado and plays on his guilt. The play is dominated by the interaction between these two characters but there are also throw backs to events leading up to the crime. They combine like the dreams of a fevered mind. This actor will also play the part of Marmelodov, Sonya’s alcoholic father.

Sonya, a prostitute (a range of playing ages) Raskolnikov is attracted to her and she becomes his spiritual guide. This actress also plays the old pawnbroker, Alyona Ivanovna, her simple sister Lizaveta Ivanovna and Raskolnikov’s mother. It will require physical and emotional versatility but, above all, a range of truthful performances.

“Stunningly lean, taut and emotionally searing……A work of theatre that never feels like a condensation of a seminal 500 page novel, but rather has the swift, sharp impact of a blow from an axe” – Chicago Sun-Times.

Please contact me if you would like to discuss any aspect of this production. 01273 472779 / 0771 737 7316.

Miles Jenner
Director

More Infographics

For those still struggling with infographic ideas, here is a website that shows examples of a variety of infographics, from amusing ones to factual ones.

http://www.creativebloq.com/graphic-design-tips/information-graphics-1232836

unit 10

Hello all, i hope you had a good day and looking forward to your show.
I'm with you tomorrow so i would like to give some feedback and maybe, if necessary challenge some of your artistic and acting decisions before your shows. Looking forward to seeing you and seeing some good work.

Vanessa

Blacks

Hey Guys,

For the rest of the week including tomorrow I'd like all cast in their blacks, due to the obvious fact that we don't want any 'nice' clothes being ruined, and it is much easier to work with actors in plain black clothes because they are a 'blank canvas' and we can therefore add more personality and costume to them as necessary!

Many Thanks!

today

Studio 8 today guys, 11.30, don't be late and we need to get a lot done so...be ready!!

Infographics

This is a website to create interactive infographics. http://infogr.am/

Rudolf Laban

During todays session we studied Rudolf Labans Effects and using them to enhance on the Movement of the characters, here is the website with lots of information on it which it about Laban;

http://www.wattpad.com/1525847-rudolf-laban's-effort-shapes-a-brief-but

Exercise for weekend

Hi guys!
During the session that only 4 people came to, we did some character work to try and develop their characters. I therefore have a bit of homework that will help the people that didn't come in to complete over the weekend.
This is called the GOTE exercise, GOTE stands for G = Goals; O = Obstacles; T = Tactics and E = Expectations. The GOTE principal is a very effective means for actors to relate to script and text and to gain a full understanding of their character’s purpose in the scene.
I suggest that you write;
Goals
Objectives
Tactics
Expectation
Vertically down a piece of paper and fill in the space next to it truthfully and honestly in relation to your character. It will definitely help develop your characters, it will also help if people can do this exercise and then show the other people in their play, so that they can relate to you and create a stronger connection.
Thank you,
And a big thank you yo the people who have come in over half-term. It has definitely been extremely beneficial for me, i hope it has for you too.

Infographic

Interactive posters.

Have a look at this poster made on Glogster. What do you think?
Interactive with use of video. Glogster edu free to sign up for 30 day trial.


http://selliott1.edu.glogster.com/the-science-of-the-art-of-acting/

Brighton Fringe

I hope some of you going to tonight's free event on how to sell your fringe show

http://www.facebook.com/events/421872204572196/

collaboration

Something to get you started thinking of the collaboration and the poster you have to create.

Can you recognise any of these stages?
If you wanted an image to represent or to be a metaphor for your collaborative process, what image would you choose?

http://www.aiim.org/What-is-Collaboration

Here is the schedule

Here is the schedule for the weeks commencing 7th April and 15th April!!

Please don't be late to any rehearsals, especially in show week.
If you have issues with the schedule then please contact me.

Dates	Times
Wednesday 10th April	10.00 – 16.00
Thursday 11th April	11.00 – 16.00
Friday 12th April	11.00 – 16.00
Monday 15th April	11.30 – 16.00
Tuesday 16th April	10.30 – 21.00
Wednesday 17th April	09.00 – 20.00
Thursday 18th April	10.00 – 20.00
Friday 19th April	12.00 – 21.00

wordle

Check out this site http://www.wordle.net/create
Wordle creates a type of infographic of words used somewhere with the most frequency and prominence. Having entered your blog into it, this is what it has created. Any insights of how this might be used to analyse your process? Try it with different entries, posts or text.