Friday, 20 May 2016
Thursday, 19 May 2016
Dance evaluation of Twat
https://youtu.be/LgpSjwzd8Pw
Overall I was very pleased with our piece. We remembered it all, we did it in good timing and looked strong and exaggerated when holding potions.
We used a poem for our stimulus 'Twat' by John Cooper Clarke. The poem has great comedy in it with lots of imagery which we thought would give us lots to explore with and give us a great chance of using exaggeration , extension , pace and facial expressions . We wanted to do a piece that was more based on stylized movement much like physical theater rather then dance. However we had elements of physical dance skills within our movement for example unison , canon , co-ordination and extension.
A piece of movement I contributed my idea towards was the 'scratching your bad name off his list and pointing the way outside'. I really liked how we would all be on our knees in a circle scratching up in unison then sharply pointing away from the circle , I think it looked really aesthetically pleasing and co-ordinated. Another contribution I made was 'the shadow of the guillotine of a dead consumers face'. I really like how we staged it , we slowly moved into the transition and then made the movement shocking by being fast and sharp , almost to reflect the guillotine.
I think through out the dance we maintained a good pace , focus , and exaggeration . I really liked our use of posture on the line 'like a sucked and spat out smartie' . We would all bunch together with a low slumped posture then sharply moved away from each other spreading are arms out with big extension to portray being spat out.
I think we had great facial expression through out our dance especially on the word ' grim' . We would pull grim faces and scrunch our hand up into a claw shape to reflect on the word grim. Also our sharpness and emphasis on the word grim was really bold and exaggerated. I also felt that our eye line was always focused onto each other to show a clear indication of interaction .
What I think went particularly well in the piece was the transitions between movements and our exaggeration. We developed our speed within the dance and become more confident with the moves there fore making the dance sharper for example 'you went to a progressive psychiatrists' we managed to quickly descent into that position with bumping into each other.
What I think we need to improve on for next time is our spacing. For example in some parts of the dance I felt too far away like ' I've got you under my skin' and I felt that I was rushing to get nearer the girls. And on another part I felt too cramped 'I'd consider killing you if I though you where alive'. Dannii and Holly where too close to me so I feel as though my movement of 'coming back to life' was missed and blocked. I think we need to improve this to make the dance neater and more compact . However over all I was really please with our team work .
Overall I was very pleased with our piece. We remembered it all, we did it in good timing and looked strong and exaggerated when holding potions.
We used a poem for our stimulus 'Twat' by John Cooper Clarke. The poem has great comedy in it with lots of imagery which we thought would give us lots to explore with and give us a great chance of using exaggeration , extension , pace and facial expressions . We wanted to do a piece that was more based on stylized movement much like physical theater rather then dance. However we had elements of physical dance skills within our movement for example unison , canon , co-ordination and extension.
A piece of movement I contributed my idea towards was the 'scratching your bad name off his list and pointing the way outside'. I really liked how we would all be on our knees in a circle scratching up in unison then sharply pointing away from the circle , I think it looked really aesthetically pleasing and co-ordinated. Another contribution I made was 'the shadow of the guillotine of a dead consumers face'. I really like how we staged it , we slowly moved into the transition and then made the movement shocking by being fast and sharp , almost to reflect the guillotine.
I think through out the dance we maintained a good pace , focus , and exaggeration . I really liked our use of posture on the line 'like a sucked and spat out smartie' . We would all bunch together with a low slumped posture then sharply moved away from each other spreading are arms out with big extension to portray being spat out.
I think we had great facial expression through out our dance especially on the word ' grim' . We would pull grim faces and scrunch our hand up into a claw shape to reflect on the word grim. Also our sharpness and emphasis on the word grim was really bold and exaggerated. I also felt that our eye line was always focused onto each other to show a clear indication of interaction .
What I think went particularly well in the piece was the transitions between movements and our exaggeration. We developed our speed within the dance and become more confident with the moves there fore making the dance sharper for example 'you went to a progressive psychiatrists' we managed to quickly descent into that position with bumping into each other.
What I think we need to improve on for next time is our spacing. For example in some parts of the dance I felt too far away like ' I've got you under my skin' and I felt that I was rushing to get nearer the girls. And on another part I felt too cramped 'I'd consider killing you if I though you where alive'. Dannii and Holly where too close to me so I feel as though my movement of 'coming back to life' was missed and blocked. I think we need to improve this to make the dance neater and more compact . However over all I was really please with our team work .
Dance evaluation 2nd part of dance
http://youtu.be/mqTSxSh5rQc
I really think we have some great ideas and have developed our piece . I think it was brave to choose a poem as our stimuli unlike or peers who chose songs. However this poem does have an evident rhythm. Again like the first part of the poem we need to work on getting the movement to be sharper and faster. I think because John Cooper Clarke is so fast when reading it makes it hard to remember. I really like our movement for 'scratching your bad name off his list then pointing the way outside'. This in my opinion this is a smooth transition and looks powerful and effective when trying to portray the imagery . I also really like the development we have made when trying to figure out how to portray the bat . We need to work on our extension and stance in that particular move but I think it's a clever way of portraying at bat with our bodies.
What I personally need to work on is the leg turne for 'you make me wanna piss'. My co-ordination and balance is not good and I end up wobbling or holding back on exaggerating this move. Also I think we should think of a move for 'suicide' as it has a very strong meaning and I feel like we could use it to create an impact . Overall I think we have made great progress and I'm looking forward to performing it .
I really think we have some great ideas and have developed our piece . I think it was brave to choose a poem as our stimuli unlike or peers who chose songs. However this poem does have an evident rhythm. Again like the first part of the poem we need to work on getting the movement to be sharper and faster. I think because John Cooper Clarke is so fast when reading it makes it hard to remember. I really like our movement for 'scratching your bad name off his list then pointing the way outside'. This in my opinion this is a smooth transition and looks powerful and effective when trying to portray the imagery . I also really like the development we have made when trying to figure out how to portray the bat . We need to work on our extension and stance in that particular move but I think it's a clever way of portraying at bat with our bodies.
What I personally need to work on is the leg turne for 'you make me wanna piss'. My co-ordination and balance is not good and I end up wobbling or holding back on exaggerating this move. Also I think we should think of a move for 'suicide' as it has a very strong meaning and I feel like we could use it to create an impact . Overall I think we have made great progress and I'm looking forward to performing it .
Dance Development
http://youtu.be/nfb-vPknX2M
As you can see by the video above we have developed our devised piece further . In my opinion I feel that we have really have explore the verses within the poem to create a really rich visual movement piece . We have taken a lot of consideration as to how we are going to portray certain words within movement for example "your clean round the bend" we move in a swift carve in unison to represent the 'bend'. Also a personal favorite contribution is the "your bad breath vamps disease , destruction and decay" I really liked the idea of us all spreading out and becoming those words within our actions . I think we show the words well through our movement . I really in particular like my movement for 'destruction' and Dannii's movement for 'decay' . I think we hold the position well and with great exaggeration. I also like that I 'become' destruction as the word is spoken I think this makes it clear to the audiences that we are the words coming to life into visual pictures. What I think we need to improve on again is our pace. We need to be faster , slicker and neater all at the same time to make this really fit together in a really smooth movement. Also I think we should come up with new movement for 'you put the shat in shatter' as this feels repetitive to 'like a recently disinfected shit house'. The squat is used twice and it may be better to change the move or only have two of us doing it?
Also I think we need to focus on memory of the piece and the pace does make it hard to remember. I always forget what the movement is for 'your certainly no raver' . Maybe we could change the move so it is really bold and memorable . A suggestion is that Dannii could hold her hand out to me for me to take as this would be a smooth and memorable transition .
In addition to this I think we need to be scratching ourselves as we are getting up for 'your like a dose of scabies' so there isn't just an awkward gap of us struggling to get up. This would fill the gap and make us look more confident within the dance.
Furthermore I think instead of Holly spinning me for 'people mention murder the moment you arrive' I think she should shove me with her shoulder and give me a disapproving facial expression as she walks past. This would fit in better with the words and look more menacing .
Overall I think we are working effectively as a team and work well when communicating our ideas and putting them together.
Also I think we need to focus on memory of the piece and the pace does make it hard to remember. I always forget what the movement is for 'your certainly no raver' . Maybe we could change the move so it is really bold and memorable . A suggestion is that Dannii could hold her hand out to me for me to take as this would be a smooth and memorable transition .
In addition to this I think we need to be scratching ourselves as we are getting up for 'your like a dose of scabies' so there isn't just an awkward gap of us struggling to get up. This would fill the gap and make us look more confident within the dance.
Furthermore I think instead of Holly spinning me for 'people mention murder the moment you arrive' I think she should shove me with her shoulder and give me a disapproving facial expression as she walks past. This would fit in better with the words and look more menacing .
Overall I think we are working effectively as a team and work well when communicating our ideas and putting them together.
RENT FINAL EVALUATION
I felt really confident and excited for the final performance of Rent , I was more nervous eat the 4:30 performance however I leant from mistakes and knew how to resolve issue to improve . I was very happy with the stylised and choreographed 'beat up' which I contributed the idea of how Collins would be mugged at the beginning of 'Rent' . My dialogue had just gone smoothly with Mark over the phone . I managed to reach the correct not for 'chestnuts roasting' when talking to mark over the phone . I decide to have a friendly tone of voice becuase I would imagine Collins was happy to talk to mark . I expressed surprise through my shocked time of voice and higher pitch when Collins thinks roger has picked up the phone 'roger picked up the phone !?' . Then I changed to have a low pitch and stern tone on the line ' I may be detained' this worked well becuase it created tension , that line in its self foreshadows the events that follow . The beat up looked really effective , I was cornered and had a low posture when moving back towards an exit to show how Collins would of been feeling threatened and scared . Also the fall was successfully done, Danii mimed a punch towards my stomache and I fell to the grown scrunching my eyebrows togther and opening my mouth making a gasp to show how Collins was in pain. I was then helped up and punched off after my coat was ripped off me . I think this worked better in the later performance becuase it was a lot quicker and kept that Dramatic exciting pace moving . In addition to this is think my re-entry was effective , I stumbled onto the stage holding my stomache . Also imbertween my lyrics "how do you stay on your feet when on every street it's trick or treat" I took a moment to look at some of the fighting phareses , this was to almost to demonstrate Collins point and to make him fearful on how unsafe he is in the rough streets of downtown New York . This was recognised in the 4:30 performance and I made a note to myself to do it in the last performance . Also what I thought was really suspenseful was dropping to the floor just before the lyrics "getting dizzy" it showed how Collins was feeling weak through emotional stress and physical pain .
When off cast I really enjoy being homeless. To show the persona of a stereotypical homeless drunk I would get up close and into the faces of the audience , also I would punch and shove other actors on stage . When moving around the stage I would have my hands in my pockets and look around being weary of trouble and other homeless people . When pushing people I would throw y arms up high to make my body open and look big to threaten .
I felt that 'you ok honey' went really well in the final performance , myself and max took it slow to remain in key with eacother and in time with the music . Also It allowed some flirting to be shown through our dialogue "and I won't take no" this is important becuase I remember one of our notes was that we needed to show a clearer relationship developing with Collins and Angel . Also to show the kind persona of Collins I would express little smiles to Angel and take time to look at her in awe . For example on the line " an angel indeed" there was a nice pause where I looked into maxes eyes to show flirtation and a sweet connecton . All my movements when Collins is in pain where fast an sharp in reaction to pain. Also I would share my body weight with Max to show that Collins was unsteady within his balance . My posture was low when holding onto maxes arm again to show pain .
I really liked the beginning of 'today for you' with Mark and Roger as I feel especially with Mark their relationship was clear . I felt that Mark and Collins where close however there was a slight rift with Roger especially thought the line "oh hi after 7 months" . I would of liked to see Collins and Roger to get alot close pr through out the play and I think myself and James could of interacted further to show their friendship . Also i think I showed a lot of the male mannerisms I tried to express in this scene especially when Angel arrives to sing. To show Collins is proud of her I would nudge the boys and point at her whilst smiling . Also I would be dancing around the flat with her , holding her hand and pointing at her with a cheesy grin. At times I do think me and max could improve our movement with eachother as sometimes I felt we didn't know where to stand and sometimes he'd go for my hand and I'd go to put my arm round him . Also I felt we could be very fidgety , so if I could improve this I would make soild directions and direct places to travel to in that scene. Having said that I do think the interation with Angel and Collins improved through out the performance . I would make a fuss of her to show how Collins was proud of her and excited by her presence .
As a team I think we did so much better for 'will I' we all projected our voices to show the emotion and distress of having aids . However it was a beautiful but deadly connection we all had with eacother as characters. It moved me how we all mainted our harmonies . Or tone was longing , pining and our pitch was high . We all held hands to show the connection and I kept a sad and natural expression on my face through out to show the emotion and worry Collins has , not just for him but for Angel too . Myself and Angel held hands the hole time druing this song so show the deep connection and love they have fore eachother . I almost think I should of joined in with the boys when singing but I wanted to be able to project and add volume to the emus blue and the only way I could do that was but singing in a higher range to suit my vocal range . What I think could of improved this scene is that the homeless characters could of taken our chairs off as I felt this was too slow and broke the moment .
Personally in my opinion I was very happy with Santa Fe . I made sure I took in enough breath to powerfully project the lyrics to a high volume that had to reach above the band . Also I think I did well on maintaing an American accident through out the performance but most of all during the songs . I felt that my movement was effective , I would click and sway interacting with the characters on the train to portray the easy going and chilled out persona Collins has . To improve this however I think I could of interacted more with Angel and maybe even with the characters on the train. At times I felt abit cramped but I focused on Mark and Roger too to show Collins was singing to his friends and loved ones dreaming of bigger things for them im the future . Vocaly I think I really struggled with the line "do you know the way to Santa Fe" . I feel this becuase by this time in the song I was out of breath and always started at u nessiasry low note so it came across quite and I struggled to project and be loud.
Compared to the 4:30 performance i think myself and Max really improve for I'll cover you the 4:30 permanent did not go as well we rushed the song and I did hear us slipping out of key with eacother . We took it slow and made sure we focused on the interaction and connection they both had with eacother . We wanted this scene to be very romantic and cheesy so there was a lot of staring into eacothers eyes and holding our hands on our chests . Vocally I think we did slip out of key slightly and I would of liked to work on this song a lot more if I had the chance to improve . However our projection was strong and our volume increased through the song . Also I think my gait was in a manly manner . My shoulders would be low and I'd have my hands in my pockets showing I was laid back and focusing on Angel in awe . When ever I'd sit down I would keep my legs open and when I was standing my hands would either be in my pockets or around Angel .
I was personally really pleased with how La vie boheme turned out . I was thrilled that I remembered my dialogue which I performed with great projection however I think I some parts I could of been louder for example "anarchy , revelation , justic screaming for solution , forcing changes risk and dmager making noise and making pleases" . Also with movement I think myself and Sophie worked really well togther , we remembered all our dance routine whilst singing the challenging lyrics . To improve I think I could of been abit braver and stood on the table with Sophie , that may even helped with projecting my voice above the band . I had a lot of fun in this scene and I was proud to be a part of it . My extension was strong and posture was straight and upright . Also I showed excitement in my facial expressions by having a cheesy aimlessly and gesturing to people .
In 'without you' myself and Max do a mimed almost split screen scene whilst mimi is singing . I think the levels at where I was standing by the bed worked really well, my posture would get more stooped and I would get lower the more Angel detiriorated. I started off standing at the end of the bed ever so often interacting with the nurses , becuase it is a personal touching journey for them too looking after a dying patience. Also I wanted to show that Collins was greatful for all support he could get , he's a sensitive soul . At the moment Angel died I was in bed with him holding his shirt and pulling him towards me whilst crying and shaking my head . Also when the nurses would move me away I'd push them away and try to get closer to angel to show Collins wasn't ready to let go . To then add more of adramatic effect and a sad shocking sight I collapsed to the floor in tears clutching Angels bag . I wanted to portray the deep sadness and sorrow and fear Collins had about loosing Angel . It brought me to tears just thinking about what he would be feeling and going through . To improve this scene I think Collins could of been escorted off the stage by either mark or Roger .
I worked really hard vocaly for 'I'll cover you the reprise' I sung the whole song in a lower octive . It was really and challenge , but I felt good about it . My volume was quite on some occasions but to work with this problem I showed emotion to help compensate for the low volume . It word well and looked effective . In addition to that when I really needed to be loud my voice was strong and it did project. it was very touching and I felt a lot of emotion when singing it . To improve from the 4:30 performance I didn't take any of angles belongings up with me and ash felt it looked awkward and it help me to belt by clutching on to the rails . My body would physically help me push out with power . Also to show the hurt Collins was feeling I did cry to add effect and when the song finished I did out my head in my hands in relief and emotion . I wanted to portray Collins as touching and sensitive at this moment . I really enojed this part of the performance . However I did come on late for " you all said you'd be cool today" but It could be taken that I was letting there be a moment where I let the anger stettle before entering to bring the mood down to a more solum atmosphere .
Overall I really enjoyed Rent. I felt that all relationships came togther and connected more in the 7:30 performance . Also I made a note to myself after the 4:30 show to improve elements In the later 7:30 like enter quicker for the bringing of today for you to give myself more time to get down the staris . I was learning as I was performing on the night . And will always have ways I should of and could of done things differently . Through this evaluation I think I have reconised what what went well for me and what I could work on and develop if I was to do Rent again .
Rent Movement Evaluation
I have taken chunks from my Rent evaluation on my movement and added it to the post to show how I evaluated my movement within Rent. These are the parts that I feel show how I reflected on my movement in my performance whilst playing Collins.
' I may be detained' this worked well because it created tension , that line in its self foreshadows the events that follow . The beat up looked really effective , I was cornered and had a low posture when moving back towards an exit to show how Collins would of been feeling threatened and scared
I contributed my idea of the 'mugging' scene especially how we exited off the stage. My idea was fighting movement. For example the group would push me to the ground and dannii would kick me in the stomach . This gave me the chance to stumble up in front of the group and run off as they chased me. This worked to our advantage as this was the side we would have to re-enter later on in the opening number.
The fall was successfully done, Danii mimed a punch towards my stomach and I fell to the grown scrunching my eyebrows together and opening my mouth making a gasp to show how Collins was in pain. I was then helped up and punched off after my coat was ripped off me . I think this worked better in the later performance because it was a lot quicker and kept that Dramatic exciting pace moving . In addition to this is think my re-entry was effective , I stumbled onto the stage holding my stomach .
When off cast I really enjoy being homeless. To show the persona of a stereotypical homeless drunk I would get up close and into the faces of the audience , also I would punch and shove other actors on stage . When moving around the stage I would have my hands in my pockets and look around being weary of trouble and other homeless people . When pushing people I would throw y arms up high to make my body open and look big to threaten . My eye line would be focused and my facial expressions would be big to show interaction with the other characters.
All my movements when Collins is in pain where fast an sharp in reaction to pain. Also I would share my body weight with Max to show that Collins was unsteady within his balance . My posture was low when holding onto maxes arm again to show pain .
I contributed my creative ideas for movement in Santa Fe .I felt that my movement in Santa Fe was effective , I would click and sway interacting with the characters on the train to portray the easy going and chilled out persona Collins has . To improve this however I think I could of interacted more with Angel and maybe even with the characters on the train. At times I felt abit cramped but I focused on Mark and Roger too to show Collins was singing to his friends and loved ones dreaming of bigger things for them im the future.
Also with movement I think myself and Sophie worked really well together , we remembered all our dance routine whilst singing the challenging lyrics . To improve I think I could of been abit braver and stood on the table with Sophie , that may even helped with projecting my voice above the band . I had a lot of fun in this scene and I was proud to be a part of it . My extension was strong and posture was straight and upright . Also I showed excitement in my facial expressions by having a cheesy aimlessly and gesturing to people .
I would of liked my balance and extension to be better in La Vie Boheme especially when we where dancing in our pairs walking on the tables and chairs but I think thats a confidence issues. If i was more confident that I wasn't going to fall I could of concentrated on balance and extension more. I think this was the biggest weakness in my performances . To improve I think I would need to be more flexible when working on the chairs and tables thus helping my confidence and making the dance look stronger and neater overall.
However over all I think I used my posture well to express Collins emotions through out the show physically and through facial expressions . For example my posture in 'without you' as Angel is slowly dying was low and small . I would get into a smaller position the more and more he would get sicker. This was to represent the despair Collins was in . Also I thought this might represent how Angel was disappearing into nothing, much like my posture .When angel had died I was in a ball on the floor .
Furthermore in La Vie Boheme my strengths where posture; I was always up right and straight this was to show how Collins was confident and happy whilst being with his friends standing up to Benny. Also I think I had great strength during our pair phrases, I did well on holing Sophie up in a position whilst balancing her on my hips . It didn't look awkward and I didn't struggle. I had good stamina and energy in this dance considering I had to sing as well .
' I may be detained' this worked well because it created tension , that line in its self foreshadows the events that follow . The beat up looked really effective , I was cornered and had a low posture when moving back towards an exit to show how Collins would of been feeling threatened and scared
I contributed my idea of the 'mugging' scene especially how we exited off the stage. My idea was fighting movement. For example the group would push me to the ground and dannii would kick me in the stomach . This gave me the chance to stumble up in front of the group and run off as they chased me. This worked to our advantage as this was the side we would have to re-enter later on in the opening number.
The fall was successfully done, Danii mimed a punch towards my stomach and I fell to the grown scrunching my eyebrows together and opening my mouth making a gasp to show how Collins was in pain. I was then helped up and punched off after my coat was ripped off me . I think this worked better in the later performance because it was a lot quicker and kept that Dramatic exciting pace moving . In addition to this is think my re-entry was effective , I stumbled onto the stage holding my stomach .
When off cast I really enjoy being homeless. To show the persona of a stereotypical homeless drunk I would get up close and into the faces of the audience , also I would punch and shove other actors on stage . When moving around the stage I would have my hands in my pockets and look around being weary of trouble and other homeless people . When pushing people I would throw y arms up high to make my body open and look big to threaten . My eye line would be focused and my facial expressions would be big to show interaction with the other characters.
All my movements when Collins is in pain where fast an sharp in reaction to pain. Also I would share my body weight with Max to show that Collins was unsteady within his balance . My posture was low when holding onto maxes arm again to show pain .
I contributed my creative ideas for movement in Santa Fe .I felt that my movement in Santa Fe was effective , I would click and sway interacting with the characters on the train to portray the easy going and chilled out persona Collins has . To improve this however I think I could of interacted more with Angel and maybe even with the characters on the train. At times I felt abit cramped but I focused on Mark and Roger too to show Collins was singing to his friends and loved ones dreaming of bigger things for them im the future.
Also with movement I think myself and Sophie worked really well together , we remembered all our dance routine whilst singing the challenging lyrics . To improve I think I could of been abit braver and stood on the table with Sophie , that may even helped with projecting my voice above the band . I had a lot of fun in this scene and I was proud to be a part of it . My extension was strong and posture was straight and upright . Also I showed excitement in my facial expressions by having a cheesy aimlessly and gesturing to people .
I would of liked my balance and extension to be better in La Vie Boheme especially when we where dancing in our pairs walking on the tables and chairs but I think thats a confidence issues. If i was more confident that I wasn't going to fall I could of concentrated on balance and extension more. I think this was the biggest weakness in my performances . To improve I think I would need to be more flexible when working on the chairs and tables thus helping my confidence and making the dance look stronger and neater overall.
However over all I think I used my posture well to express Collins emotions through out the show physically and through facial expressions . For example my posture in 'without you' as Angel is slowly dying was low and small . I would get into a smaller position the more and more he would get sicker. This was to represent the despair Collins was in . Also I thought this might represent how Angel was disappearing into nothing, much like my posture .When angel had died I was in a ball on the floor .
Furthermore in La Vie Boheme my strengths where posture; I was always up right and straight this was to show how Collins was confident and happy whilst being with his friends standing up to Benny. Also I think I had great strength during our pair phrases, I did well on holing Sophie up in a position whilst balancing her on my hips . It didn't look awkward and I didn't struggle. I had good stamina and energy in this dance considering I had to sing as well .
Thursday, 12 May 2016
Dr.Faustus Evaluation
APART 1
PART 2
PART 3
I think overall the show went well . There where so great ensumble pieces some great acting and I think we all work extremely well as a team.
Luke screaming for me ! Waiting on the hill to go on.
Slowly starting to come down ...
Made it safely . Also in the sper of the moment as you can see I started to crawl on the stage I felt this would make the scene look even more creepy and unsettling .
I was also part of an ensemble in Act 2 scene 1 . There are stage directions explaining "Enter devils giving crowns and rich apparel they dance and then depart" For this we all entered as creepy devils yet still dressed as ravers to reflect the darkness within practing music in our concept , from all parts of the stage and seating . We then crawled through the audience and sat in the trench around the stage . This scene is supposed to entice Faustus and convince him that selling his soul would be worth it and life would be better and that he'd be adored . In this scene I felt as though we were being more traditional in the respect that we all entered as creepy Devils jumping throught the audience and sticking our tounges out hissing and spitting. We had another dance routine to keep our concept consistent through out . We all had to seduce Faustus and almost be quite sexy Devils to Lur him into our contract trap ! We all had a solo dance to entice him and I think it looks really collaborative and lusty . I personally found it quite sexual especially as some of us had to crawl up to faustus on our hands and knees clawing at him . I think we all had great facial expressions and animation in our movements . I tried to exaggerate everything even in this photo you can really see me in a squat position to look hunched and low, looking up a faustus to see wether he was being seduced . I really had fun with the enterance I would hiss and growl right in the faces of the audience baring my teeth and clawing at them.
PART 2
PART 3
I think overall the show went well . There where so great ensumble pieces some great acting and I think we all work extremely well as a team.
The opening scene was really effective , I like that max had some time on his own to look through his vinly and turn some dials on his decks . It set the scene and made it clear to the audience what he was (a DJ) and the original concept we decide to apdat Faustus to. It looked really chaotic and busy when we all came on from different entrances it built the space and showed a real sense time moving almost as if it was representing the club building up with people the later into the night it got . What I found challenging was dancing so frantically and then having to go straight into our chorus pieces and project up to the highest row whilst trying to catch my breath . Having said that I think I was loud and animated in my facial expressions and gestures when reciting the section myself , Paige and Georiga had; " so soon he profits in divinity the fruitful plot of scholarisum graced that shortly he was graced with doctors name excelling all whose sweet delight disputes in heavenly matters of theology till swollen with a cunning of self conceit his waxen wings did mount above his reach and melting heavens conspired his over through "For example on the line "his waxen wings did mount above his reach" I raised my arms and swayed them up and down as if I was miming a bird it had great imagery within it which gave me a lot of opportunity to improvise actions to also create a visual effect. In addition to that when speaking the line " till swollen with a cunning of self conceit" I had a disgusted expression on my face and pointed to faustus as I said those lines. This showed that I was trying to draw the audience into the story whilst adding drama and excitement . An Idea I had in the rehearsal process was that Max and his decks should be lifted up into the air to show a connection with magic . I think this looked really effective and fun and it really brought the narration to life within the chorus as if we where trying to impress the audience with our 'magic friend' .
The next scene I was in was being the first Mephistopheles summoned by Faustus. I would come down the isle at the top row of seating to create an imposing and creepy atmosphere. In a previous out door rehearsal we had descovered that when I went to scream in my mask the sound was trap inside , so what sounded really loud as to me was barley noticeable to anyone els. On the day at the boat when doing a run through we decided to help me out Luke would could up with me and hide behind the back row . He would scream for me as I gestured and swung my head back in the air . This problem was over come and worked well in the performance. When I entered down the steps i'd have to hiss at Faustus and get right up to the audiences face. What I was really worried about was coming down the steps to the stage in the mask that I could hardly see through and long cloak hanging at my feet . It was a challenge I'd have to figure out myself and find the best way that I felt confident with . What helped was holding the cloak away from my feet so I wouldn't trip over that and as I was looking down to watch where I was going I'd look at audience members and hiss . I think this covered up the fact that I was really scared about tripping effectively!
Luke screaming for me ! Waiting on the hill to go on. Slowly starting to come down ... Made it safely . Also in the sper of the moment as you can see I started to crawl on the stage I felt this would make the scene look even more creepy and unsettling .The next ensemble part I was in was coming on with Georgia , George and Luke . We where all good angels . Myself , George and Luke had rehearsed a tune to sing whilst accompanying Georgia . We wanted it to sound like a choir singing in a church. We simply put a white cloak around our 'ravers' costume and would come on singing and praying . Personal I like to think ,like the actors back in the Elizabethan era I was over dramatic with this character. The audience response was giggling and laughing so I could tell they found it humours . I had may mouth open wide with a really exaggerated smile looking up into the sky. Occasionally I would cross myself and mime as if I was praying . The bad angel would bring on some 'side kicks' (the Devils) and they came over to us beatboxing and trying to scare us away. I think this was a really fun scene however to improve I think we could of come on earlier singing and making it more comic and funny. I think that scene had more potential to be slap stick , almost a little fight . I think this would link well with Elizabethan theatre as they where fans of mellow drama and comedy.
I was also part of an ensemble in Act 2 scene 1 . There are stage directions explaining "Enter devils giving crowns and rich apparel they dance and then depart" For this we all entered as creepy devils yet still dressed as ravers to reflect the darkness within practing music in our concept , from all parts of the stage and seating . We then crawled through the audience and sat in the trench around the stage . This scene is supposed to entice Faustus and convince him that selling his soul would be worth it and life would be better and that he'd be adored . In this scene I felt as though we were being more traditional in the respect that we all entered as creepy Devils jumping throught the audience and sticking our tounges out hissing and spitting. We had another dance routine to keep our concept consistent through out . We all had to seduce Faustus and almost be quite sexy Devils to Lur him into our contract trap ! We all had a solo dance to entice him and I think it looks really collaborative and lusty . I personally found it quite sexual especially as some of us had to crawl up to faustus on our hands and knees clawing at him . I think we all had great facial expressions and animation in our movements . I tried to exaggerate everything even in this photo you can really see me in a squat position to look hunched and low, looking up a faustus to see wether he was being seduced . I really had fun with the enterance I would hiss and growl right in the faces of the audience baring my teeth and clawing at them.
The next ensumble piece I was in was the scene where we all had to walk on stage as 'sexy women' or 'beautiful people' for faustus to choose from . I felt that this scene was really uncomfortable and cringe worthy , especially as our parents were in the audience! I attempted to look sexy by dropping my hip and having one hand on my hip whilst playing with my hair . I'd also pout and batt my eyelids. We then had to go into the audience and dance outrageously around them , seducing them and generally trying to make an uncomfortable , obscene atmosphere. I think it was clever that we used boys and girls to be the 'sexy people' becuase in the Elizabethan era only men were allowed to act . I can imagen that this scene to be quite humorous to the crowd back then . In our concept we also used luke George and max so for our 21st century audience they had a mixture of both genders.
Here's a photo of myself and Luke practising in rehearsals.
The next character I played was Beelzebub. I had to walk on with Amber 'lucifer' as I was her assistant . My status at this point is very high as faustus fears my character therefore even just by standing there ominously not saying anything was creepy and imposing . I personally would of preferred it if my hood was up as this would of helped my character appear more mysterious. Also I think there could of been more interaction between Beelzebub and faustus for example simple but effective gestures such as faustus bowing down to lucifer and maybe even kissing their hands . However I think there was good interaction with the 7 deadly sins for example when Beth was on stage talking about how she loved gold and wanted all of it myself and charlie would give eye contact to eachother and smerik whilst holding some gold coins to tease her . Even our entrences could of been bigger and more fierce with more shock from actors on stage to emphasise our arrival .
At this part of the it was the change over from one Mephestopheles to another and one faustus to another . Myself and charlie made up a small routine to symbolise Mephestopheles getting older and to show how time has past . I didn't like how little time we had to do this and I wasn't confident with weather or not the audience Would understand the Change over ? Everyone would be dancing around and she would pull me into the centre and throw flowers at me . I would stand looking up to the top row my stance was strong and grounded and my posture was straight . I felt that it was important to show the power Mephestopheles has especially now 'she' has grown older and is impatient when waiting for faustus's soul to be dragged to hell. In comparsion to the Elizabethan era in our version of the play Mephestopheles was played by me and Charlie who our women . Again in the Elizabethan period it was against the law for women to act. I think it was great the Mephestopheles was cast by a women and to be played by a women . I thought it showed how far we have come through time showing that women and men have the same rights. Also I like that this is an opportunity to show how women are strong aswell as men and they can lead be respected and also feared.
The next scene was the duke scene. Myself luke and Paige would start of by standing on the table overlooking everyone to show the power and status we had . Also I think standing on the table had and the highet we where at had some reference to God and how he would be overlooking earth . It almost represented being in the heavens and looking down on everyone.
Myself and Luke held a strong pose when standing on the table which we held in a freeze frame again to show the power and status of our character . I wanted my pose to be more sutle yet menacing becuase Mephestopheles is more in the back ground of the scene watching over faustus . However having my hand on his sholuder I thought represented how I still have control over him. Once with freeze frame was over myself and luke would Bob our heads to some music pointing and joking with eacother we wanted this to show how the characters didn't have a care in the world and where enjoying their power. My self and Luke's first bit of dialogue was good however the elements of working outside did hit us. As I was finishing the line "faustus I have and becuase we will not be Unprovided I have taken up his holiness privey chamber for our use" a member of the public who wasn't watching the show shouted something out to us . It did annoy me that he felt the need to interrupt out hard work and the moment we'd been waiting for but luke handled it well with his next line and we carried on even louder and stronger with our volume and projection . I guess that expirence would of been true to the Elizabethan era as members of the audience would often drink and become rowdy . And if they didn't like a character or actor they could throw food at them .
The pope scene was fun and there was some great interaction between myself and Luke we would look at eacother and raise our eye brows or mime plotting something against the characters on stage . My stage direction where to sit in the table and observe faustus however my character still wanted to join in with the fun. There was real chaos in this scene with a lot happening . In the rehearsal process it took a while of the energy and animation to pick up and it was never really fun . But on the night everyone did a great job of exaggerating how shocked and scared their all where by the invisible presences cause havock . I got involved too and help faustus with scaring everyone off stage . I think it was a nice bond and connection between the characters as they enjoyed working as a team to scare and fright the duke .
The next scene I was in was where Robin and Rafe summon me and I have a short monoluge about how tired Mephestopheles is of being summoned by fools just for fun. I would say the monoluge in a fed up and frustrated tone pacing the stage and telling the audience to allmost get some sympathy. I thought my projection was strong and clear and my volume was loud , I think the ranting tone of the monoluge helped me to become louder and help natural gestures. Also the interaction between me and bryleah was good she would get right up in my face and I'd look shocked that she would stand up to my character like that . On the line " I transform thee into an ape and thee into a dog and so be gone " I would look and point to the actor I wanted to transform to exaggerated that I was casting a spell.
The next scene I was in was act 4 scene 1 - emperor. I didn't have a lot to do in this scene part from watch over faustus and the emperor. However there was one part of the scene I really liked doing and that was when Georgia came on with horns . I could join in with everyone laughing and pointing and I think at this point in Mephestopheles and faustus's relationship she was proud of him for showing his power. I then got to magic off the horns so I held my hands above them and moved them around as if I was casting a spell . I would then quickly slip them off and hold them behind my back. I think it was good that we didn't try and make a big thing of hiding the horns becuase in Elizabethan times they would of had to do the same to pull of the illusion .
The next scene was the horse courser and I enjoyed this scene as there was a lot of dialogue between me and Dannii . I especially liked the line "I tell thee he has not slept this eights nights" I would say this line in a very low tone and walk towards Dannii with my hands at my sides in fists forcing her to cower and walk back . I wanted this line to be conveyed in that way as I think it really showed how Mephestopheles is protective over Faustus and that she may see him more than for just his soul again like when she tucks him into bed. It shows a soft sympathetic side to Mephestopheles. Also Mephestopheles and faustus have great interation after they have ticked the horse courser we would laugh and hit eacother like 'lads' would and I think it just showed how their bind had changed over the 24 years they had been at each others side.
The next scene was the duke scene and I didn't have any lines to say yet it was still one of my favourite scenes . I would reveal the grapes to the dutchess on a platter and she would run over and start scoffing them . We had great fun with this as I would try to snatch a grape and I'd even through them at people in the audience pointing and laughing . I wanted to do that to show the naughty and mischievous side of Mephestopheles and I think this added great humour to the scene .
The next scene was the scholar scene where faustus summons Helen of troy . Our concept to be relivent to the audience was that the scholars where 'lads' . They where rowdy and obnoxious . They would try to interact with me but I would look at them disapprovingly and shove them out of the way . I was really annoyed that I forgot to help Amber down the last step and next time mad a bigger thing of helping her and showing her off however I think she looked great owning the stage herself . It was a long a pnd drawn out enterance which showed how entranced faustus is by her . However I looked on with attitude almost to show Mephestopheles as slightly jealous .
The next scene was the old man scene where he try's to convince faustus to repent . However I hand luke a dagger as if to say now is the time to complete the deal . Mephestopheles is outraged when Faustus throws down the dagger i portrayed this by frowning and opening my mouth in shock moving away from him and frowning at the old man for helping Faustus change his mind . When the old man leve Mephestopheles and faustus have a fight . I conveyed this anger towards faustus by shouting 'traitor faustus!' And pointing directly at his face storming towards him frowing and bearing my teeth. I liked my soliloquy to the audience as by this time it was getting darker and it was if Mephestopheles had frozen time to just talk to the audience and reflect on faustus and how furious she was with him. I really like how my last line was directed 'Faustus this or what els tho shalt desire shall be performed in twinkling of an eye' as I said this I pointed into his eye then pointed at the back of the stage where Helen was entering . I would then go and sit at the side of the stage watching Helen and Faustus embrace . I looked at them disapprovingly and would accasionaly turn away . As they excited max would come back on as the old man seeing faustus with Helen and realising that he hadn't repented . I see max and decide to stage on stage and watch him . I looked at him with a cunning and sly expression . Becuase he had tried to help faustus repent all the devils would then feast on max and I watched over smiling and laughing . Also wish I thought looked effective was that I clapped my hands for all the devils to dispers and I think it just exaggerated how Mephestopheles still had the power and control in this tale.
My last stage direction was to wait at the top row and slowly walk down as faustus was being dragged to hell . I got to the stage just as luke screamed 'Mephestopheles!' Which looked really powerful . I then just turned to face the audience as the chorus warned the audience of this moral . We the finished with as dance sequence to highlight the fact that in our concept music was the power and source of evil which does reflect some views of different genres of music being sinful . I think is was a very differnt way to end a play as the Elizabethans would of just taken their bows. Overall I think the play went really well and we showed a great modern interpretation of Dr faustus to relate to at 21st century audience .I also had a great expirence performing at the BOAT and I really feel that I have a better understanding of what it was like for actors who only ever knew an open abit theatre . Lastly I think we did a great job as an ensumble and a team, it was good fun and a challenge at the same time .
Classical Q's
1. In the Elizabethan era theatre was part of the resistance . Queen Elizabeth loved theatre and was all about the arts it was highly respected in Elizabethan culture . It was part of every classes day to day life to go to the theatre for entertainment and cost 1p to sit in the front row ! The trouble is there was a lot of rowdyness within the theatre . People where all bunch into a wooden theatre that was typically in the round and refered to as the 'wooden o'.People would drink , eat , prostitue and even go to the toilet where they would sit or stand ! People a higher class would sit up in balconies away from the poor working class who would stand around the stage in mud and human waste . The theatre was open topped letting all the elements in and was refered to as the heavens . Trap doors where refered to as hell . Plays where held between 2-4 as that's when they would have the most natural light . Plays like Macbeth and Dr. Faustus would of been staged like this . Also all the actors would of been male as women weren't allowed to act so if there was a female role an actor would have to dress as a women in exaggerated clothes and wigs. Also plays in the Elizabethan era would be highly exaggerated ; almost panto style. This was to keep the audience entertained as plays could last to up to 4 hours with no interval !
2. Personally I think that Faustus connections a lot with my generation . It may be a totally bizarre and deep way of looking at it , but i think our generation wants it all and are prepared to do crazy things just for popularity and we aren't thankful enough for what we have already much like Faustus he always wants more and does something stupid to get it (sells his soul!) . Also I think it relates to a lot of political affairs in our day an age. For example radicalization and extremists wanting more and more power , exploiting it and using religion much like Faustus does. But even simple emotions and topics effect us now much as they did in the Elizabethan era . For example we all want to be ambitious but we doubt ourselves and fear things in the future and over look the present. The relivence that I think Faustus had to its audience back in the Elizabethan era was religion and the black magic aspect . Henry the 8th had set up his own church (the Church of England) and deemed himself as a protestant. This caused a lot of controversy on who's religion was correct and true ect. It also showed the power that Henry had as he had started up his own church that people are still part of today. Perhaps Marlowe wanted a religious aspect in Faustus to reflect on what political events where happening in his life time .
3. The language can be hard to over come in Elizabethan theatre what I did to research the language was looked at scene summeraies online and read about the events within the scene . This really helped me understand what they wher trying to say and also a scene of the story. Also words I didn't understand I would look up and find the definition . After awhile I fond myself naturally trying to interpret what words meant . In the rehearsal process of there was a point in time where no one understood what was happening in we would all get together and discuss possibilities of what was happening. Also I researched verse , prose and chorus. Verse is meant to be rhythmic and poetic when recited. Prose is what we would call 'natural speech' and this is where is dialogue we will naturally find pauses. And chorus is recited in a ensumble almost in a dramatic narration .
4. I really enjoyed doing is the duke scene. And in particular I don't have alot of direction as I am again observing Faustus talking to the Duke. I stand to the side as they stand at the front to show I am ominously looking on. One of my favorite parts is when I have to interact with the duchess (Amber) . I will bring on a platter of gapes . I have thought about how I will display them. I think I could make it quite fun by showing them off to the audience like an exhibit . Also I could try and snatch a grape off the platter and even throw some out to the audience to show Mephs cheeky side. Another example is the horse courser scene wher I had dialogue with Dannii . I chose to interpret the line "I tell they he has not slept this 8 nights" in a very scary , stern tone to show Mephestopheles evil and harsh side .
Shakespeare performance evaluation
My performance
...Also I gestured to audience members becuase I wanted to add direct adress within my monoluge to make it powerful ,imposing and dramatic . What I think I could work on was facial expressions as I think I was squinting because of the sun on my face . Also I think I could could walked around the space more to get closer and more involved with my audiences space to make the most of performing outside so close to the public . Over all though I think my volume was loud and my projection was strong. I felt this really help me understand how I would have to use my projection when performing Dr. Faustus at B.O.A.T and it was great practise .
Wednesday, 11 May 2016
Rehearsal Notes
First half of the play
" so soon he profits in divinity the fruitful plot of scholarisum graced that shortly he was graced with doctors name excelling all whose sweet delight disputes in heavenly matters of theology till swollen with a cunning of self conceit his waxen wings did mount above his reach and melting heavens conspired his over through "
It was an interesting verse to have as I think there was a lot of great imagery within it . I gave great opportunity to react to what we where saying and as a group we discussed what gestures we could add when reciting this verse.
The next part I was in was being the first Mephistopheles summoned by Faustus. We decided that I would come down the isle to create an imposing and creepy atmosphere. Also because we wanted there to be a massive difference between me and Charlie max said he had a mask I could use to show an obvious difference . We decided my que to come on screeching as some unholy creature was "And try the uttermost magic can perform". When I entered i'd have to hiss at Faustus and get right up to the audiences face. We agreed to work more on it when I had my mask to work with.What I am worried about is coming down the steps to the stage in a mask and long cloak . I will have to figure out a safe , confident way to personally tackle that challenge on the day .
Another ensemble part i was in was coming on with Georgia , George and Luke . We where all good angels . Myself , George and Luke came up with a tune to sing whilst accompanying Georgia . The idea for this brief scene was to be scared away by the devils that accompanied the bad angel,they where hip and we would be praying looking worried whilst Georgia the main good angel tried to convince Faustus not to sin.
I was also part of an ensemble in Act 2 scene 1 . There are stage directions explaining "Enter devils giving crowns and rich apparel they dance and then depart" For this we had an idea that we should all enter as creepy devils yet still dressed as ravers and all sit in the trench around the stage . This scene is supposed to entice Faustus and convince him that selling his soul would be worth it and life would be better and that he'd be adored . The idea was to create a dance involving Faustus falling in love with the idea that he could do whatever he wants and be loved by the creatures of hell. The devils would all have their own solo dance to try and seduce Faustus to join them in hell.
Also in the same act I was involved with another ensemble part. We all had to line up and be 'sexy ravers' for Faustus to choose from . The idea was to be outrageous and obscene towards the audience shocking and humoring them. I felt that this could be quite an awkward scene especially with family members in the audience.
Another ensemble I was in was with Lucifer in the scene of the 7 deadly sins . My job was to just walk on stage with Lucifer and stand there looking menacing. I would sometimes have interaction with some of the sins. For example with covertness I would be teasing her showing her my ring and smirking not letting her have it . My role is to accompany lucifer in Scaring Faustus into only thinking of hell. I think I will need to think about stage presents and how I will create impact .
The final ensemble I was in was the change over from charlie to me (Mephestopheles) and Max to Luke (Faustus) . This was the ending of the first half of the play and the beginning of the second half. Myself and charlie had to create a little routine of me truing into Mephistopheles . We had ideas of her throwing her flowers over me and some intense eye contact with some spins. My initial thoughts was that we'd have some time to do a little 'metamorphosis' routine however I don't think their will be enough time so we may have to just stick with a basic spin and charlie throwing the flowers over my head.
Second half of the play
Our first thoughts on how to block the first scene was that me and luke would be standing on the table overlooking the stage out towards the audience . Initially I was worried about how my posture would be as I wasn't comfortable with standing on the table in character shoes! I had to think about how I would over come this and I came up with the idea that I should lean on luke . As well as supporting me I thought it would add a certain attitude and stance to my character . We did this in a freeze frame.
For the pope scene myself and luke still stood on the table and our initial idea was to look up to max as he walked down the steps to the stage . We later then change this to nodding our heads to music as if we where 'crusing' down the road in a flash car loving life. At this point in the play faustus is much older and has expirence his capability in the contact . He asks Mephistopheles to make him invisable so that he can mess around with the pope . My personal instinct was to mime casting a spell around luke . I thought this would show the audience a clear indication that I was casting a spell and so they wouldn't be confused in the pope scene where Luke was causing chaos . After that my blocking was to sit on the table and watch over Luke looking malicious and cunning.
The next scene I was in was with rafe, robin and the vintner the movement for this was to walk down the isle and circle the other actors on stage before moving to the front of the stage for my monologue . My first thought was how I'd get down the steps to the stage in time and also in my character shoes .The main language concern was the words 'Constantinople' and 'potentates' . I was dredging having to say this but a good rehearsal technique I learnt was to repeat the words in different accents , tones , pace and rhythm . It work for me for example, if I'd say Constantinople in a Yorkshire accent it suck in my head because it was funny and it helped me hear the syllables of the word. After the monologue we originally had that I'd walk back up the Isle but for practicality and logic for the next scene we changed this to walking upstage into the wings.
The next scene I was in was act 4 scene 1 'Emperor' myself and Luke's movement was to walk parallel to the emperor and knight when entering to make it ascetically pleasing and neat . It also showed the separation between the status of Faustus and the emperor. My blocking was to be diagonal to the knight as this showed how we where both 'guardians' to our masters (or that's how Mephistopheles is preseved) . I really enjoy casting a spell on the knight and removing his horns , it's a fun bit of mime . Initionally we didn't know to show the horns disappearing off the Knights head but I had a suggestion that as I do the mime if casting a spell I remove them with my hands and discretely hide them behind my back. We the had to think of how we would take them off stage as I would be staying on Into the next scene . We came up with the idea that as Georgia exits she walks behind me and takes them off in a smooth transition.
The next scene we blocked was the horse courser myself and Luke's movement was to walk across the edge of the stage , when the horse courser enters my movement was to move out of the way and observe the horse coursers proposal to buy the horse . Myself and Luke made Conscious decision on making obvious eye contact in the intention of showing we where up to something. Through rehearsal we developed this to make it even more obvious for example winking and raising our eye brows . Also independently I decided to back this up by gestures to make it even more exaggerated that we had a plan up our sleeves and turning to the audience making facial expressions . What I felt might be a challenge was the findings of the fake leg! I thought about how we could do this and came to the conclusion that it would already have to be in place under the table but I was still concerned how we would execute the trick . This isn't something we focus on a lot during rehearsals and i'm wondering how effective it will actually be. I think my dialogue with Dannii is coming on well I have a clear understanding of the language and what is being said I think its just a matter of thinking about the tone I am going to use when addressing the horse courser whether I want it to be stern and scary or patronizing. I really like the interaction with Luke when the trick is over and the horse courser runs off traumatized . I think our connection of laughter and 'friendship' is shown in a brief moment and its as if Mephistopheles forgets that she is later going to be dragging Faustus to hell.We have been working on our connection as characters and we have made up a little hand shake to bring some more modern style and gestures to the play. I think this works well with our 'club' concept and also is clear difference to the play in its original form.
Another scene I really enjoy doing is the duke scene . I don't have alot of direction as I am again observing Faustus talking to the Duke. I stand to the side as they stand at the front to show I am ominously looking on. One of my favorite parts is when I have to interact with the duchess (Amber) . I will bring on a platter of gapes . I have thought about how I will display them. I think I could make it quite fun by showing them off to the audience like an exhibit . Also I could try and snatch a grape off the platter and even throw some out to the audience to show Mephs cheeky side.
The next scene we have been working on is the scholar scene where Faustus summons Helen of Troy for his friends to impress them . I thought about how I'd react around them and through rehearsals I have decided that Meph would find them uncool and below her. So I look at them with judgmental eyes even pushing a couple of them of my path. A suggestion I made was that I should copy Faustus's moves when he is conjuring Helen. This would show how I was really in control and how I was manipulative . Something we rehearsed was that when Helen arrived I helped her off the step and onto the stage to exaggerate her status. After that I again just watch the scholars being 'laddish' judgmentally.
The next scene was the 'Old man' scene where character comes on to try an convince Faustus to repent. I don't really understand who this character is and how he really knows Faustus . Perhaps he is a godly spirit sent from heaven or a fragment of his imagination. What I think is really effective is how we have developed Meph handing Faustus a dagger to commit the ultimate sin (suicide) . It looks really effective coming around the side of his body slowly and stopping in front of him before he takes it. It adds great dramatic tension and almost a plot twist. Also what I love about how this scene is coming together is mine and Luke's dialogue. I really struggled at first with remembering the language as it was abit of a tongue twister. However I remember this particular rehearsal where Myself , Luke , Max and charlie had a personal rehearsal with Grainne. She could see that I was struggling and she took the time to stop me and get me to crouch at the audience and she repeated the lines over and over again simultaneously with me. I never forgot those lines again it was a great idea and hearing someone else voice accompany mine helped it sick in my mind. After this scene Faustus leave and as I go the old man walks back on so I independently decided to stay on and linger in the back ground. I felt that Meph wouldn't like the old man as he tried to make Faustus repent.After his monologue I suggested that when the devils attack the old man I should clap y hands to make them disperse to show how I was in control in contrast to hoe charlie summons the devils in the first half of the play to seduce Faustus to sell his soul. This looked effective and took awhile for the timing to be right as my clap had to be heard above the music.
The last scene is Faustus's monologue and I would walk down the steps to the stage as he was beginning to be dragged off . I stand on the stage looking a him with my hands on my hips. I thought throughout the rehearsal process that this would be the best stance as it would show the power Meph has all along . It also gives me a strong stage presence and is dramatic. However when Luke calls Mephistopheles name I was thinking of maybe looking away as Meph did have a connection with him and my feel some empathy for him as Mephistopheles is damned to hell too and they share this banishment.
Another scene I really enjoy doing is the duke scene . I don't have alot of direction as I am again observing Faustus talking to the Duke. I stand to the side as they stand at the front to show I am ominously looking on. One of my favorite parts is when I have to interact with the duchess (Amber) . I will bring on a platter of gapes . I have thought about how I will display them. I think I could make it quite fun by showing them off to the audience like an exhibit . Also I could try and snatch a grape off the platter and even throw some out to the audience to show Mephs cheeky side.
The next scene we have been working on is the scholar scene where Faustus summons Helen of Troy for his friends to impress them . I thought about how I'd react around them and through rehearsals I have decided that Meph would find them uncool and below her. So I look at them with judgmental eyes even pushing a couple of them of my path. A suggestion I made was that I should copy Faustus's moves when he is conjuring Helen. This would show how I was really in control and how I was manipulative . Something we rehearsed was that when Helen arrived I helped her off the step and onto the stage to exaggerate her status. After that I again just watch the scholars being 'laddish' judgmentally.
The next scene was the 'Old man' scene where character comes on to try an convince Faustus to repent. I don't really understand who this character is and how he really knows Faustus . Perhaps he is a godly spirit sent from heaven or a fragment of his imagination. What I think is really effective is how we have developed Meph handing Faustus a dagger to commit the ultimate sin (suicide) . It looks really effective coming around the side of his body slowly and stopping in front of him before he takes it. It adds great dramatic tension and almost a plot twist. Also what I love about how this scene is coming together is mine and Luke's dialogue. I really struggled at first with remembering the language as it was abit of a tongue twister. However I remember this particular rehearsal where Myself , Luke , Max and charlie had a personal rehearsal with Grainne. She could see that I was struggling and she took the time to stop me and get me to crouch at the audience and she repeated the lines over and over again simultaneously with me. I never forgot those lines again it was a great idea and hearing someone else voice accompany mine helped it sick in my mind. After this scene Faustus leave and as I go the old man walks back on so I independently decided to stay on and linger in the back ground. I felt that Meph wouldn't like the old man as he tried to make Faustus repent.After his monologue I suggested that when the devils attack the old man I should clap y hands to make them disperse to show how I was in control in contrast to hoe charlie summons the devils in the first half of the play to seduce Faustus to sell his soul. This looked effective and took awhile for the timing to be right as my clap had to be heard above the music.
The last scene is Faustus's monologue and I would walk down the steps to the stage as he was beginning to be dragged off . I stand on the stage looking a him with my hands on my hips. I thought throughout the rehearsal process that this would be the best stance as it would show the power Meph has all along . It also gives me a strong stage presence and is dramatic. However when Luke calls Mephistopheles name I was thinking of maybe looking away as Meph did have a connection with him and my feel some empathy for him as Mephistopheles is damned to hell too and they share this banishment.
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