Well done

Well done again, a lovely day yesterday with your two shows. Good audiences, improvements and lots of passion from the groups.

This year has been so busy, you have been like performance ninjas!
Don't wind down, keep going with presentation prep, research into industry, website building etc for unit 9.

And maybe Adur festival next.

Well done a pleasure to work with you all.

Musical Theatre Showcase this saturday

https://www.facebook.com/events/333635093405851/?notif_t=plan_user_invited

Next Week

 Hello all, just looking ahead to next week.

The next day in will be Tuesday at Ivybrook. We will critique unit 9, go through assessments and what you will need to present the following week in terms of learning, research and websites.

Please meet at 11.30 and i will be arranging individual tutorials from 10am.

On Tuesday, we also need to arrange interviews for those of you wanting to do the BA but not have the right grades in unit 8.

There is an opportunity to get involved in the Adur festival in Shoreham this year and for those of you that stay local or on the BA, great opportunities for next Adur festival too.

This will not be an assessment and is a voluntary involvement as it also falls just outside of the term with the main event on Saturday 16th June. However i would recommend it if you can as i have had exciting meetings with the new festival coordinator. She will be coming in to talk to you at 1.15.

Regarding the Living Map event at this year's festival...

The Living Map is a map of Adur created by up to 1000 human bodies, photographed and filmed from the sky.

16th June 11a.m.-12.30 Buckingham Park, Shoreham.

Performing Artists:

They would potentially be performing as:

Mother Adur 

The River Nymphs

The Clans (Fishersgate, Sompting, Southwick, Lancing, Coombes, Shoreham, Kingston)

This can accommodate as many performers as there are.

These characters will bring together the different elements of the human map.

I will bring in a director/writer/devisor to work with them at the college to create the piece.

mella

Congratulations!

Well done all on your festival performances today. Good audiences, some good feedback and one more to go! I hope you have learnt lots and looking forward to tomorrow. Some feedback from me from today.
Also, in the red, please liaise with make up; we can probably be at space from 4.30 unless i hear different.

Peter Mayo

technical problems but the phone scene actually worked better without projection i think. Sort out music cues and how to not show computer screen.
Samantha, maybe give us more clues as to what you think about Peter when you see him up close for the first time.
I would suggest not miming the ball in squash; not in keeping with the rest of the style.
Better diction, work for even better tomorrow.
The kisses need work! you don't look like you enjoy any of them enough.
quicker blackout in ending?


In the Red

make up worked well
on my way home, i bought a money box that digitally counts money. Can we make a scene with that and Alex for the extra few minutes we need?
Scratch cards to audience? a nice dilemma maybe to have a pound or a scratch card?
how do we (should we) keep the bottle with pennies gag in?
extend paige speech to audience
work with Catia on english speech
re block price tag? can really work but squashed on stage?
Radley, worth extending your piece a little as you did yesterday? very funny responses to audiences but is there space for a little quiet moment too where this person might be more realistic and tender? To relate to an audience member maybe?
maybe just slip the people who bought something, not all?
excellent interaction with audience and improvising to react. keep it up and more.
Ending; add a scene with Alex? also would help if audience decides to keep 10 pounds. also, should alex encourage audience to contribute to decision or just one person's? it was quite a stressful ask.
Check if people at the back missed anything i sat at the front so didn't check.
to work on tomorrow

Well done all, looking forward to tomorrow. Steven, please check tickets or let me know how to in the day so i know how many to offer to first years for both shows.

european debt crisis explained simply

http://ideasforarevolution.wordpress.com/foreign-translations/the-euro-crisis-explained-to-grannies/

Err, I think we're performing in the brighton fringe tomorrow. Not entirely sure though!! 

Flyering Tips

Flyering tips for anyone handing out flyers:

1: Never have a huge wad of flyers in your hand - never more than twenty - don't let the quantity make you look desperate

2: if someone is walking past you with their hands open, be open in word, gesture and stance; hold your hand out and GIVE AS IF YOUR LIFE DEPENDED ON IT

3: There's nothing more appealing to mediocre people than a mediocre smile; recognise mediocre people and adapt to them

4: Only two things matter on a flyer when you're outdoors; the image, and the genre; only the title if it's truly original

5: If someone is striding past you, appear to melt away, then launch yourself at them at the last minute with full vigour

6: If someone isn't giving you any eye contact, offer them the flyer with an enthusiastic gesture, but also no eye contact

7: As you lean or step towards someone as you give out a flyer, hold it upside down, turn it over only at the last moment

8 : Always make eye contact on the name of your show when talking about it to the public; only on the name of your show

9 : When you give out a flyer, as someone tries to take it, hold onto it tightly for a half a second before letting it go with a hint of reluctance, a microscopic, hardly notieceable, momentary tug of war

10: The most successful flyering is done silently, with measured eye contact and authentic smiles; if speaking, never moremore than twelve words.

Feedback in the red 21/5

• alex very effective (random have you seen harold and maude film?)
• gwen you need to have a lot of money?
• what will writing be on? that?
• gwen great more more more
• go out neatly trio
• paige as bailiff, little more legalistic?
• radley can sing! i had forgotten.
• blade and catia where are you?
• so can george except oasis.
• sophie and nicole; weird. but good?
• subtitle catya?
• spray the baby? genious.
• ok nicole but didn't see hte lady give you anything.
• gwen volume in singing. missed most of the lyrics
• paige and nicole where are you? opportunities for some big prop/set?
• shaun to appear from nowhere?
• and nicole. should we see the singers?
• radley keep spraying hte baby?
• shall we get a crying baby?
• paige character could be developed much further
• deadpan but opportunity for some karaoke? deadpan trio but a deadpan crazy dance? tap?
• catia slow down i didn't get the text
• sophie excellent what will you really be selling?
• good george but make more of it and probably not cuba; too complex
• blade and catia choreograph the washing coudl be lovely physical sequence
• what is george doing behind washing line?
• need a really good hanging clothes prop
• paige practice vogue
• price tag; lovely voice what are we looking at?
• nicole less still; you don't need to show as much you are very engaging with much less
• good monologue but needs more i think. cigarettes are an obvious gripe could be more complex. make us think about what we buy that we can't really afford
• trio, i know you're looking at words but you need to be fearless with the songs!
• George don't play the ackwardness. we don't feel it when you play it.
• Idea; should you get the pound for the socks from the audience? see if anyone will give it?
• yes good i like the following the socks story but needs more work?
• unauthorised material? is the use of songs legal?
• still not sure audience will get dilemma; still think you need to up stakes for hte audience
• i thought gwen left the trio
• 
  

Feedback peter mayo 21/5

• is there a preshow bit? what mood will you put audience in before show starts? any thoughts you want them to have?
• antonio diction much improved but more more clarity..
• where are you? can you make it clearer?
• is he annoying you from the beginning samantha? when you propose not sure you would want to from what we have seen. 
• does it need to be a little more seductive and light hearted given what she wants to happen?
• lovely pauses; maybe space for a couple of longer silences layered with feeling?
• is samantha not nervous about this at all? or playing at a more relaxed experienced woman?
• antonio to audience, you really need to change where you are to go with how well you change the mood and delivery. 
• relax your shoulders antonio when speaking to audience. will you address everyone?
• would be nice for you antonio to be much more relaxed with us so bigger contrast.
• missed the who cheated on his wife bit. can it be made clearer?
• where are we now? 
• so far, no strong visual moments without text.
• a lot of text to follow; can you really slow down some bits and speed up others?
• where are we now? peter come back inside? using the small bar at the back?
• where are the swingers? is it us the audience?
• Fetishists pronounciation
• does yiannis have a relationship with the audience?
• nice moment of ' do you tell your wife about this?' can be a bigger moment
• idea; during antonio and yiannis speech, could samantha be on stage a glimpse into her life?
• do you need transition between live scene of the two boys and then going into phone scene?
• not sure looking at 2 guys on phone very interesting. Can you find more theatrical moments? at the moment, could this work on radio just as well?
• yiannis shouting really good break to the scene and rhythm. need more of those..
• why is wife to the left? what else can be over there?
• opportunities to play with space a little more. block more spaces into more places around the space.
• idea; what do the characters do when they cannot be seen? eg what does samantha do, what does yiannis do while on phone? this is what the theatrical can do well; juxtapose the text with something much more visual, poetic and metaphoric..
• antonio reading out messages hi... hi.... possible to be recorded by different voices?
• again when you meet, samantha you get annoyed really quickly. great to mirror images that we saw earlier but you do look too annoyed for this to go further. do you like anything about him?
• nose moment lovely but don't overplay it antonio.
• squash again across the space?
• needs to be clearer when the audience are involved adn when not. some of your scenes yiannis and antonio very much to each other.
• is the story of sex with emilia best directed to us?
• lovely scene of the bedroom
• get the synchronisation right exactly in the sense scene. How is Thursday feeling?
• careful of losing sound when looking upwards antonio
• antonio dictin deteriorating late in show.
• the twist needs more time and clarity. what is the subtext? can we see more of it? you are still all three standing like before.
• timing of kids all wrong. play with silences much more and find a more appropriate rhythm.
• why cannot yiannis' character do this? a bit out of the blue....
• smaller clues before hand that dan might fancy him?

Feedback morn 21/5

Sam – Don’t overact the beginning, its more confusion than anger

Sam – What does Thursday think towards Peter being so immature and childish regarding Thunderbirds? Anger? Frustration? Entertaining?

Sam – The line is ‘I’ve got work in the morning’

A – S – The pace in the first scene is a lot better than on previous occasion, though, we are losing all the comedy. You need to figure out definitively where the comedy is and then make sure that the audience hear those words, leaving pauses for laughter

Ant – Need to still work on your diction during all monologues, don’t lose all the work that we have done.

Ant – There is a difference in looking scared and looking constipated in your facial expressions, when Thursday is behind you, make sure that you are not crossing that ‘line’

Ant – Make sure that you introduce yourself to more than just 1 audience member

Ant – ‘Haddock’ make sure that your pronounce that work correctly

Yia – when you are texting Peter, be in a freeze, just with a cheeky smile towards the audience

Yia – When Peter is talking directly to the audience, make sure that you are in a 100% freeze in neutral

Yia – make sure that you are in complete control of your eyes and they do not wonder when you are talking to people, look them in the eyes

Y – A – The change over into the phone call scene need to be slicker, no dragging of chairs, pick them up and move them

Yia – Don’t be afraid to go to the door when you are shouting to your wife

Yia – Don’t strain your voice when you are shouting to wife, there is no need to be as loud as you are currently being. It takes a more talented actor to hold in emotion than to let it all out, if an audience can see that you are getting angry but bottling it up they will be able to relate to you more than looking a man shout at a wall.

Ant – When you are talking to the audience, be more relaxed and make sure that you being nice and charming to them

Ant – Need to make sure that you are word perfect and confident with your lines during the msn chat conversation scene, your diction and pronunciation are lacking

Ant – ‘i don’t smoke’ bring the pitch of your voice down; don’t go as high as you currently do

Ant – Start your monologue while you are taking care of Dan

Yia – Do you like that Peter is taking care of you when the ball hits you in the face?

Ant – when you are thrusting, put your knees on the floor. And make sure that your diction is still precise.

ALL – The first two kisses, the one between Thursday – Dan and then Thursday – Peter were both too long, we lost all energy

ALL – The kisses still need a lot of work. What are your characters feeling? Where is the shock on your faces when you are jumped on? Anger? Frustration? Enjoyment? An audience need to see the emotion in your eyes and body language

ALL – We need to use the space more adventurously, more spontaneously and creatively

Feedback from 20/5

Ant - Thunderbird 3 and 5 action bigger

Sam – why move your hand from his lap

Sam – are you going to sleep with me, louder

Ant – diction in start scene needs work

Sam – what are we going to do with your hair?

ALL – comic timing is v important, watch stand-up comedians. Do they talk over the laughter?

Ant – straight into ‘you never know........’ when sam exits

Yia – when come on, enter with cheeky smile, thatll change the mood

Ant – indicate to the audience on ‘grotty pub’

Yia – BOLLOCKS, need to be bigger, stronger

Ant – how did you find out about THIS on gumtree

Y – A – Dialogue needs to be a little quicker

Yia – Those jeans don’t work, let’s try something different

Yia – need to be more clear that you are talking to wife. Any ideas

Y – A – Look at the script for the phonecall scene, you are missing bits

Ant- Take a pic of you with a horse

Ant – ‘Im really not gay’

Yia – Put your hands down, when Thursday starts talking during msn chat scene

Yia – if you need to ever get changed infront of an audience then go round the corner, you distracted from the performance

ALL – Dont forget that your characters are all a lot older than you are, lets make sure that is obvious to the audience

Y – A – Make sure that when you are playing squash, your diction and pronunciation is still good, we are losing some of the lines because they are not clear

Ant – while saying the start of Thunderbirds, squash monologue, give Yia a drink and make sure that his face is alright

Ant – Second Retarded Ejaculation, needs to be louder and clearer

Sam – Mime the words ‘its alright to make noise’

Ant – Dont forget your phone

Yia – Dont forget the blocking for the multi-phone call at end

Yia – Straight in with ‘maybe its for the best’

Ant – ‘Thursday to me and Monday to you...’ louder and more clear!!

Hi All,

I realise you are majorly busy with preparations for your Fringe shows ( good luck, can't wait to come and see you!) but I just wanted to alert you to the following workshop by Chris Chatfield, of the 1595 club. Chris has come and delivered workshops for us on Elizabethan fencing and body balance in the past and he is an excellent practitioner and tutor who works internationally - so if you are interested, it's worth booking now for this workshop and saving up your pennies!

See flyer on Blackboard. Lisa:)

workshop on how to sell you show

hi all, i went to a workshop today about how to sell you show at the Brighton fringe and also the Edinburgh Festival. this was a great experience for me and i learnt a lot from it. these are my notes i took and there is a link at the bottom which i urge all of you to have a read. 

How to do your Media release effectively? spend a lot of time getting it right, basically giving the publisher enough information about the show. One page document about facts, not rubbish content that doesn't enhance what your production is about, interesting to read, and catchy to the public eye. Listing information about your show is key to getting the publishers and journalist to come to your play. I.e location, time, date, who is in it etc. You should start promoting your show early, a few months before the fringe, for example February time, this allows you to be first in line and right in the front of the magazines and newspaper articles, don't leave it late otherwise you will find it hard. E mails are a great platform to sell your show to key people.

Target your press release: don’t just go for any one because most journalists are looking for specific shows for example dance company producing a show asks a journalist to come and watch and review them only to find out he writes about comedy piece.

The Picture of your production: Pictures got to stand out and easy for magazines to use. This quote by one on the panel caught my attention “Two thing a picture either it evokes the originality of the piece, or the concept of the piece.” Don’t send them to journalists they will ask for it if they need it. However always have a memory stick for insurance in case they can’t find it on the fringe website. Trailer of your show isn't a good idea for the simple fact they don’t have time to watch it but if you have one make sure it’s a good one. Twitter is a good platform

Key things that journalist’s avoid? bad word of mouth, bad reviews, any kind of marketing gimmick, video which fell fake and doesn’t illustrate what you want to show to an audience.

Word of mouth is quite a key factor in selling your show. I highlighted this because it was the main talking point of the workshop.  A combination of good reviews helps push sales up but not much. Leafleting is crucial because it is you selling your own show and it gives straight forward dialogue to your audience. Bizarrely taxi drivers could help promote your show if you give a free ticket??? This might sound outrageous but they did have a point. Taxi drivers talk a lot to the customers  They talk to customers all day long and basically they can sell the show. A weird idea but it might work.

Target the audience that will come to your show!  “You have to exchange effective dialogue, because you need to target the audience.” The reason I highlighted Target audience is because of the plays content. For example you wouldn’t sell your play which has full nudity to minors they simply wouldn’t come you would aim to people more less 18 - 30. So big thing is to know what audience is right to see your show.   Leaflet design needs to be creative and stand out from the others, if you can do yourself then do it, if not get a designer.

What to do after the fringe? These were questions  me and others in the audience asked in the Q&A  

Getting an award for your achievements! Getting an award can boost your shows status, as it brings a prestige aspect to you and your performers and to the show. If you were planning to tour it national it will certainly help Builds up an audience, Don't upset the journalists

What quotes are useful for the program and poster? A quote is a game at your own risk, a quote that you put on has to be relevant to your show, no later than previous years quotes any longer and journalist can be a put off. Never show quotes that show the history of shows that is not related to the current show you’re presenting. E.g. the Theatre company success, yes the company credentials are nice to see but it doesn’t help support what you are trying to sell.  

What publicist brings to the show? They know and have experience, plus would give you advice, has a lot of contacts, direct contact is helpful and promoting early on. F you can't afford one there must be someone in your company which has to take the role, and is sole responsible for your shows. 

Why Edinburgh is better than London; cheaper, more contactscand reviewers go to Edinburgh, producers’ from all over the world come to see shows. What your show is about? Local issues in Brighton would be worth going to Edinburgh. It’s the place to get attention and can break through as an actor and as a company.

What advice would you give to a student production? First of all, don't say or put anything on a description or on a leaflet that relates to student work, its a production and should be treated as a production, it doesn't help you sell and can down grade it. Best advice is to label it as enthusiastic, fun, a piece of new writing with new aspiring actors...etc, positive things would be a better replacement than something which has student production on it. Do not put it on your posters or leaflets as it sometime discredits you as a company and the show.

I learnt a huge amount from this experience and was worth the time. Here is a link that is extremely helpful on how to sell your show, I urge both parties to look at it as it has helpful tips and pointers to help us.

http://www.edfringe.com/uploads/docs/participants/Fringe_guide_to_selling_a_show_2012.pdf

Fringe devised comedy research

http://books.google.co.uk/books/about/Why_Is_That_So_Funny.html?id=cIxdYFrVKiYC&redir_esc=y

Why is that so funny? A practical exploration of physical comedy. To help devising comedy.

Infographic

Hi Vanessa, I left an updated infographic on my previous post but thought maybe I'll do a new post so you can see it more easily.
http://bronya74.edu.glogster.com/unit-10-journey-steven-hevey-short-plays

I did complete and post by the 4pm deadline! :)

in the red feedback

george on music - more neutral would be funnier?

shaun i lost you from then you need

nicole diction missing some of texts - missed that scene completely

bit messy going on and off; a more interesting way to swap scenes?

catia little overacting...

go and see waht i can do catia, what about?

blade phonecall - more interesting way to do it? can we hear it through someone else's phone?

nicole, marigold - try different characterisation - have seen you do this before.

shaun diction - i missed that text again. these scenes interesting but need something. change midway?

sophie good selling scene - but polish accent ok?

hospital scene? messy staging.  trio needs to be more truthful less sketch show like?

paige - lovely image of hanging socks? what else will they do? where do you hang them? what do they look like by the end. good pagie sustained but losing some words

i need to check facebook? too cheap a gag, not sure. is there someting even more advanced?

George did we see you put stash in sock? do we then anticipate the confusion?

gwen, who are you? careful not to mock the homeless. are you maybe someone more well off?

alex & nicole, ca we see alex?

nicole, same for child, can you make it less funny but more moving?

Have you all seen the clocktower in brighton? some link to make with it?

did alex say patients? are we the audience patients?

idea; do all audience pitch in to see how htey could make the debt together?

sorry missed the choice alex putting to us.. how do we remove the debt?

how did marigold lose snuggles?

at the moment wanting something meatier about debt. just a scene to make it more global?

promoting your shows

Hello all, some ideas for promoting your shows

email tutors and ask them to come and to tell their students

a.nisbet@nbcol.ac.uk
k.vickers@nbcol.ac.uk
ksmith@nbcol.ac.uk
h.rowlands@nbcol.ac.uk
s.leaver@nbcol.ac.uk
t.geal@nbcol.ac.uk
n.gardner@nbcol.ac.uk
m.tennant@nbcol.ac.uk
y.jones@nbcol.ac.uk
s.rees@nbcol.ac.uk
a.burns@nbcol.ac.uk
periplum@ntlworld.com

post on alumni page
post on stac page

tweet and ask for retweets

contact reviewers (please make sure you negotiate free tickets with me and nicky)
ask a ba to post on their facebook page
send me something to post on blackboard for all courses.

more ideas as they come... also, make sure each group is helping the other; if they come for one show, they might as well stay for the next?

Peter Mayo - Character Work.

Thursday's Monologue:

So, you really want to know what happened. From the beginning? Okay, if you’re sure.

I do online dating, well did. I wouldn’t give my name or picture; it was my way of keeping myself separate from that world. I still had my friends and family without the complications or the questions. I met this guy Peter on there, he seemed nice and a bit clueless, so it was an easy target to be honest. I told him to call me Thursday Afternoon, as that’s the days I wanted to see him. I did that with everyone, different days and never my name. Names and details are too personal... He met me for coffee in Starbucks- well I say coffee, I didn’t even let him grab a drink, he was already far too open with me but in a way I liked that. I felt like there were no secrets hiding in the cracks like other people I’d been with in the past. We talked through my rules, the rules I have to try and make sure I don’t slip up, over step a line or put my personal life in danger. He’s so naive and vulnerable, which meant controlling him was easier.

The next time I met with him was in my mates flat, I didn’t tell Peter it wasn’t mine until half an hour of being there- it didn’t make him leave though! He was SO clueless about everything. He told me he leant about sex from Thunderbirds-RIDICULOUS! Was kind of cute though, but he was very annoying, I just wanted to sleep with him and it to be done. We were only there for sex... but I ended up knowing more than I bargained for. He wasn’t bad in the sack though- so I’ll give him that.

I broke some of my rules... I ended up calling him... and on a Tuesday, not my usual day I know. But I had a good reason, I’d had a really shit day at work and he actually took my mind off things. He asked me if I’d been to a sex party- OBVIOUSLY I said no! I didn’t want him to know I went all the time and got so out of hand. But then he told me that he, yes he- the nervous clueless man, was having one of his own! And I actually wanted to go, I had a rule against them now, but it was Peter, he was new to this, so thought I should go for support, and obviously to get laid. Over the time I’d spent sleeping with Peter, I started to warm to him, he was trustworthy and didn’t seem to judge me, and I liked that.

So... I turn up at this party, on a Saturday night; ready for what I thought was anything and possibly anyone... except the second voice I hear when I enter says ‘Monday’ SHIT!! If Peter hadn’t already seen me I would have bolted, but I had to grin and bear it. It was Dan, my sort of ex, who unknowingly ripped my heart out three months before. He knew things about me that Peter didn’t and that worried me. And to make matters worse it was only the three of us, as from then the night just got weird. Peter suggested a threesome, which yes I’ve done plenty of times before but this was different. I wasn’t up for it, but somehow things started happening, I couldn’t control it as well as other situations and I hated that, they though I’d just be ‘Piggy in the middle’ NO thanks! Dan got very in my face and started talking about how I used to behave, it got to the point where I put my identity on the line and spilled about the lies and secret Dan’s been keeping from Peter- The secrets that actually resulted in Dan and I ending. Dan actually got all weird and emotional on Peter, and it wasn’t comfortable to watch. Things happened between them, and I felt helpless and not powerful at all, Dan then left after his confessions and it made me feel so numb, my feelings for him were gone. That was the closure I needed and it maybe meant Pete and I could actually get close, there could be something there. I felt for Peter, he looked so confused, so I decided to open up to him, tell him more about me. But as soon as I started to, he got all different on me and just wanted sex, I realised he turned into something worse than myself, and Dan, he was us- combined. I then thought I need to get out, I don’t want to fall for the wrong man again. But before I left, I decided I owed it to Peter to know my name. I mean, he knew my job and more things about me now, what was one last thing. After telling him my name, I left to let him become who he wanted to be. I haven’t heard from him since.

I don’t do it anymore, gave up with that life and its worked out better for me. I’m happier.

Three Events in Thursday’s life that had an impact on the way she is today.

-Asthma attack, dangerous.  – Live life to the full
- Wanker took virginity, not how thought it would be –Fuck it, it’s obviously not meant to be special, books lied.
- Sport injury, dad said told you so. –Women can control whole life and not be told they can’t do something. Find something good at and stick it out.

Key event- Dangerous Asthma attack:

Place: Just arrived at a party.
Who with? Lea, Nic and Rob
Why?: Inhaler ran out, out of breath and shock.

Talking to- Friends

Speech:

I thought I was going to die! My inhaler ran out the morning of the party and I thought nothing much of it, as I had a busy day of lessons then I had to get ready for the party, I had no time to go and get a new one. It didn’t even cross my mind my mind that I’d need it, and by the time of getting ready I’d completely forgotten about it. Once Lea and I were ready we met with Nic then walked to Robs, we were running late so I was a bit flustered, they told me to take it easy but I said I’d be fine. We finally got there and I was a bit out of breath, started to remember I hadn’t got my inhaler, so decided once we get in the house I’d try and rest and calm down. But as soon as we got in, I saw my ex Will with his new girl and it shocked me, more than I wanted it to, I suddenly got really short of breath, Nic tried to calm me but nothing was working. Lea moved people out of the way but I was really struggling to breath, it felt like someone was standing on my chest, it was like I was drowning. I heard people shouting and it all started to go blurry. I couldn’t do anything without my inhaler. I thought I was dying.  I passed out.
 I woke up in hospital, I felt exhausted, drained and worried. Lea said they called my mum and that she was on her way. I was just relieved I was actually alive. As for Will he can go to hell, I would have been fine if he hadn’t been there.

Anyway, I’m okay now and that’s the main thing! I have an inhaler on me all the time now and I decided I should live life to the full! I need to take chances, work hard and do something fun and out there! I don’t want this to hold me back, so I’m going to take control. I’m still going to run with my inhaler, I’m so grateful I’m alive. I’m never going to be this stupid again. I’m going to be totally in control of my life. 

Samantha

Character development writing task

13th of may 2013

Anton checkov monologue exercise

I don't know what to feel, he just so friendly and lovely i can't seem to get him out of my mind. He isn't like most most guys i have ever been with, but it is suppose to mean nothing, i told him that but what are these feelings happening how can i not feel nothing, nothing but pure love for him. So how do i stop thinking about him. I could just stop texting him, just go never see him again change my phone everything, but he will always be in my mind. I never thought i'd get this personal, what is wrong with me, i mean i only met him a few months ago. Sure he was quite attractive but i never would think i would actually love him. Not now... Now i know what Monday felt with me.He must feel the same way, he must. I mean how can it not be, we laugh, his lists of interest match mine, we play squash, i mean if he didn't come to munchies and not want to get involved why would he be here. he is just like me... Yeah, just like me. I helped him no one else, i showed him all these things maybe he will finally open up to me. Tonight's the night I'm just gonna say it, peter i have feelings for you. But still what if he thinks differently it not like he is just gonna open up and fling his cock out at me. Then again we did organised a sex party together anything can happen.

Next exercise three life changing points in your characters life.

Ø  getting married, his first and only love at the time

Ø  having his child the happiest thing ever to happen

Ø  wife is to tired from work not enough sex, goes on internet to find NSA fun

Experience

The date on which this happened, were where you told about this, who were you with at the time this happen, quick explaination about why (optional), last thing who you are saying this speech too.

 can remember like it was yesterday, it was 25th of march 2007 and i was in my car driving to do an emergency plumbing at some grumby old house which looked like the whole thing would come down. Tell you the old women bored the hell about her grand kids growing up and telling her to go to old folks home. Luckly i was with my mate josh who was with me one this job. Once we finally got her to away from us my wife suddenly starts calling me. Now here me thinking what does this women want again, can't she tell im working.  Miss call her but she keeps ringing so i got the picked up the phone and said what do you want love? To my surprise it wasn't her but her mom. Telling me to come to Chelsea hospital your wife is having the baby. I tell ya it was like i was hit but a bus, i could feel anything but joy. I raced to the van leaving josh to finish the job, and i sped through the busy traffic to get there. I don't really now how i felt, just so many things were racing through at once, but as i got closer i started to feel this nervous chill coming up my spine. Then you feel this doubt, what if im ready, can i really be a good father, what if he doesn't like me. All these questions start arising but as you get closer these questions start to fade away as the eagerness to see you own so  being born. It took my wife carol 6 hours to give birth but as i came into the hospital room i saw him, and i felt this warm glow, a bubbling feeling which i guess all fathers feel when they see their child for the first time. Just pure joy and a moment of peace that now you start your life as a proper family. Just me, my child and my wifes mother, i have never been so happy after that. So what i say to you micheal is if you really want to have this baby it will make such a great change in your life that nothing can compare to it.

Addresses

Hello all, the people listed below, please email D.geal@nbcol.ac.uk with your correct addresses. this is important for the details and qualification to be sent to you and you need to confirm right address.

Yiannis
george
radley
Blade
sophie
samantha

thanks

Rehearsals as it stands

At the moment the rehearsals, are going well. one thing i was afraid of at the start of this project was that rehearsals would be unproductive and meaningless but so far they have been organised and are helping develop our piece. each rehearsal is different and creative, for example. Steven got us to do team building exercise just outside the college. which was a great experience, also our character profiles were made this week which i found i could visually see what my character looks like to a whole biography of his life, this has reflected in my performances and i can feel the development growing. some of the exercises we a bit hard for me to get involved for example when Steven got us to lay down and visualize our character in our minds i tend to drift off, which didn't help my development.

One thing Steven has done effectively is his execution with his ideas, he brings it out in a way we all understand however he does lack at times to give us his reasons why he wants us to do it. i also feel that some of Steven's exercises currently focus a lot on the visual aspects and i would like to try more exercises which can help create my characters physicality as i feel i lack it.

with the lines we have been working hard and i personally am off script thanks to the rest of the group, we motivate each other to keep up and make sure we are all on the same page.  for example Antonio who has the biggest task of all to learn the main role, he has being no stop trying to get off script, with our encouragement he has succeed. what i think lacks the most is the physical aspects and the blocking, due to the fact we were not totally off script in recent weeks we haven't blocked properly. at times i feel in some scenes i don't know what i should be doing. however we have so far blocked a good foundation in this play.

Overall we are on plan at the moment with were where at i couldn't see how we could of done any better. we all are very committed and passionate and it reflects in our rehearsals.

Unit 10 Infographic

Hi Vanessa,
I've done my infographic, it's quite basic with words because I put all my words in the self assessment so its mainly visual. I hope it works, it won't work properly with me. Its very interactive so please press buttons and scroll down text pieces.
Please will tell me how I can improve although I can't fit any more on there!

Here's the link I think, (it doesn't seem to be loading):

http://bronya74.edu.glogster.com/unit-10-journey-steven-hevey-short-plays

If it doesn't load, here is a picture of it for now:

Thanks, Blade

Peter Mayo Rehearsals!!

Well, I am very pleased to say our rehearsals for Peter Mayo, I feel, are going really well! I really look forward to coming in everyday, and enjoy doing a proper warm up to get us focused and ready for the day, which we all take turns in leading.

We have blocked every scene, obviously still needing work on them, but its great to have the initial blocking down so we can work on characters and developing the piece around it. We did a great afternoon the other day where we worked souly on our character work. We did an imagination exercise that helped us to visually create our character in our minds, then as we laid down with eyes closed, started to describe feelings our characters had, in certain times in the play. We have all also been working on our character profiles at home while in this rehearsal process, this is really helped me to develop my character and understand her even more than I did before by creating her whole life, from what her birthday is, to her favourite drink and her bedtime. This had helped me into creating her day, and understand more when the scenes take place in her life, what she was doing before and what she will be doing after. I love doing this for a character and trying to get to know them as well as I can in the space of time I have. I feel we've really bonded as a group, although we were close friends anyway, but the trust in the rehearsal room is highly important, and I feel there is a very high level of trust and respect between us. We did a team and trust building exercise the other day, which involved woods (college woodland), blindfolds, and being lead around and getting in touch with your senses!

 All three of us are off script which is now really helping in the rehearsal room, as we don't have it in our hands, it's helping blocking, movement and character development take place. There are still moments of all us actors feeling unsure of some lines, but I feel this is disappear over this week to come, as we've done the play many times through now, it's becoming muscle memory, so it will come naturally. Steve's direction and vision has been clear and his people skills and how to handle unsure situations or tough scenes has really improved, you can really see his development from unit 10, and how much he's learnt from it.
 We've been now promoting to show with encouragement from Steve to not only our families but branching out and finding our audience, which is highly important as we have a venue to fill! It's great doing this, as I'm learning how to pitch the show, what to talk about and how to get them interested. Our posters are starting to get out and about so we're hoping to see a ticket rise very soon.

But really loving this process so far, and can't wait to continue!

Samantha :)

Theatre rating and obscenities!

Hi Vanessa,
Please can you tell me where to find theatre show rating procedures? I found the advert for 'In The Red' and it said PG rating. There are rules and guidelines which we must adhere to but don't know where to find them. I did some internet research and found info but wasn't sure if they were genuine.
thanks, Blade!

Devised Group.

This week has gone well in terms of progression, passion and co-operation! I feel we are powering on and learning from our past experiences. I am looking folward to the next few weeks and am genuinely excited for the fringe!

Sophie.

Fringe Devised

Today was a very positive day, we have a structure that feels solid to develop more. I was impressed by the fact that every one of our group has contributed something strong to our piece. There have been conflicting ideas and a difference of opinion with the direction wanted however differing opinions generate inventive ideas. Everyone has different strengths which have come together quite nicely in my opinion and today with some reassurance and guidance from Clare and Polly, spice was added to bring out the flavour in us!

Sincerely Blade

Deadline

Hello all, a reminder that tomorrow by 4pm is the deadline for reviews, infographic and self assessment.

Please email me final submissions by 4pm

thanks

Fringe - Devised

This is not my joke:

"Sir, there`s a debt collector in the outer office."
"Tell him he can take that pile on my desk"

INFOGRAPHIC

Here's a rough draft of my inforgraphic what can I improve/include?

Info graphics

Hi Vanessa this is what i have done so far. Hope you can read it :)

Infographics

Some inventive, thoughtful and interesting infographics coming in for feedback.
Just some reminders before the deadline. Make sure that the images you are using support your analysis. What does the image say about your experience? if it is a visualisation of data, how do you interpret and analyse that data? what does it teach you about collaboration? Also, as a piece of work it needs to reference and use further research. What do others say about collaboration that informs this, what theories underpin your practice and analysis, what sources are you using beyond your own experience. I would also encourage you to share your infographics on the blog to inspire and help each other.
Thanks
Vanessa

more infographic examples

Consider; what did your collaboration look like? how does it compare with the processes of other companies? what research is informing your conceptualisation of your own process? How do you evaluate it?

Collaboration

Notes on collaboration to spark ideas.

Collaboration!

Schirle, J. (2005). Potholes in the Road to Devising. Theatre Topics, 15, 91-102.

Every artistic process involves difficulty and risk, and devising has its own set of challenges. The playwright faces the problem of the blank page; with group devising, the problem is compounded by the number of opinions about how to fill it. Whether a particular collaborative process is based on harmony or on enthusiastic contention, there is no guarantee that the best ideas will emerge when the smoke has cleared or that the simultaneous contributions of numbers of people can unite in a work of power and vision.

Page 91

When collaborations are attempted, there is a greater chance of success if the group establishes and adheres to basic guidelines for working together.  Collaborative principles encourage artists to develop trust and respect, come to a common understanding of the challenge, and to be clear about intention, roles, and agendas. By creating a shared space, generating and manipulating models, and using outside resources and strategies, the capacity for making decisions is expanded.

 Page 91

Oddey, A. (1994). Devising Theatre: a practical and theoretical handbook, London, Routledge.

Devising begins with the interaction between the members of a group and starting point or stimulus chosen.  The group absorbs the source material, responds to it, and then generates a method of working to the initial aims of the company and project.  The devising process challenges every group member to confront the work, engage with it individually at different levels, as well as developing a sense of group cooperation, affiliation and unity at the same time.  All groups are different as personalities change the group dynamics and impetus of the work.  Working in unison becomes difficult when individuals conflict with each other, but is also an intrinsic part of establishing a collective group identity.  Ultimately, it is about the group discovering a relationship between itself and the product it produces.

Page 24

Heddon, D. & Milling, J. (2006). Devising Performance: a critical history, London, Palgrave MacMillan.

It is our argument that collaborative devising processes match contemporary critical concerns, making it the ideal means to explore and embody those concerns in practice.

Page 192

Etchells, T. (1999). Certain Fragments: contemporary performance and Forced Entertainment, London, Routledge.

Or is collaboration this: a kind of complex game of consequences or Chinese whispers - a good way of confounding intentions?  If the process of direction in the theatre most usually has at its heart the interpretation of a text and the fixing of a set of meanings in it, the staging of one interpretation of many possible ones - perhaps we had in mind something utterly different - of theatre or performances as a space in which different visions, different sensibilities, different intentions could collide.

Page 55

... gaps are the most important thing because it's there where you stop 'showing' and the audience can use their imaginative powers and they're the ones that fill the gap.  That's where they become true collaborators.  And if you can invent the gap well enough the audience just comes right into there.

Page 93

Graham, S. & Hoggett, S. (2009). The Frantic Assembly Book of Devising Theatre, London, Routledge.

Our favourite devising processes are the ones where the lines of creativity start to blur.  A successful production for us will be one where it is hard to distinguish which came first between, say, words and movement and music.  This is achieved in a rehearsal room where the creative team act as one unit, sitting in front of the same scene or image or moment and all feeding into the process not just as, say, lighting designer but as potential audience member and a Frantic theatre maker.

Page 8

Sometimes good ideas come quickly.  Some days you find yourself skipping home from rehearsal thinking you have cracked it.  You have found the elixir.  You know this is how the should be done.  This kind of conviction can be fantastic but it can also cloud your judgement.  There have been times when we have absolutely thought that we have found the only way to do a scene or stumbled upon the most brilliant physical scene that encapsulates and lifts the whole production.  Invariably our passions become dimmed.  The love affair is over and we see clearly now.  The scene is not going to work.

Page 41