Tuesday, June 14, 2011

Designing the costumes for “George’s Marvellous Medicine”

For the production, I to create two costumes, George’s, his Grandmother’s and Mr Kranky’s.
For George’s outfit I went through several stages. At first, reading through the script I planned on making him a young, lively and slightly mischievous boy. Therefore, in my first design I decided on jeans shorts, with a red woollen top with a high collar, which can be pulled over the chin, with Converse style shoes. However, then it was decided that George should be a teenage version. Therefore, I thought that I could exaggerate the stereotypical teenage look, so I made a design with him wearing slim, dark jeans with a green t-shirt with a black strip, along with styled trainers. However, the director envisioned George slightly younger, so I made a third design, in which George has a red t-shirt, jeans shorts and a cap. The cap could be worn sideways to make him look more like a teenager, or straight, to make him more childish. Also, I wanted George to wear stylish red shoes. So, since all of the pieces of clothes are easy to find in a guy’s closet, I told the actor what I wanted and told him to bring the clothes in. In the end George is wearing a blue cap, I had brought a slightly more childish black cap, but then decided that it was the best option, jeans shorts a blue, red styles trainers and red stripped polo top. The effect is great; it makes him look like a preteen, which is what I was going for.
For Grandma, I had a lot of consideration to do when designing her outfit. Firstly, Grandma is going to grow on stage in the production. She is to go on a stool to do this. The technicalities were changed a couple of times, but this is what was decided on. This means that Grandma’s dress will need to be long, and will get pinned up for the scenes before she grows. The second consideration is that the outfit must be easy to get into and out of, since the actor is playing two roles, Grandma and Mr Kranky. Therefore, I decided that I’ll make two parted a shirt and a dress, and arrange it so that it looks like it goes together. Mr Kranky’s outfit will go underneath. As a personality, Grandma is to be shown a bit witch like, so I thought that I’d dress her in an old fashioned dress, of a simple colour. She will also need a wig since it is a boy playing her.
So in the first design she is wearing a dress with a black top and green hem. She’ll wear a flowery black shawl and have her hair in a messy grey bun. She’ll wear black shoes (the same as Mr Kranky’s for practical reasons) that will not show underneath the dress. In the second design I added in a collar and designed a Velcro zipper system should it be needed. I added the collar because I realised that Mr Kranky will be wearing a collar top, so it has to be concealed. I made a third design after I looked in the costume room and saw a knitted vest with a floral design that I thought would be great. However, then I decided on design two because I liked it better and a shawl is easier to get off than a vest.
 I thought for a while about how to make or get Grandma’s outfit. In the end I decided that I’d make the dress part and then buy a black blouse top. So I brought green fabric and a got a blouse style shirt, with some ruffle at the front a small even collar, which suites old ladies and the old fashioned look well. I made the dress by putting an elastic band through the waist and then I sewed the back together until about just below the knees, where I left it open from the back to make it easier to walk in the dress-otherwise it would have been too tight. The dress is long, and pinned up before Grandma grows. As for the wig, I found an old sort of messy black wig and home and was inspired by the idea of making it Grandma’s wig. I had wanted a slightly messy wig to make her look a little witch like. So, in the end, I had her wear a black blouse, tucked into the skirt, with a green a skirt, a green shawl, a black wig on a bun and black rubber boots. I also found a pair of old red glasses with the glass taken out, which I though would add to the outfit and the fact that she is an old lady.
Mr Kranky is a farmer and that it is the idea that I began to design his outfit with. I had to keep in mind that the outfit would underneath the Grandma one. In design one, I created a very colourful flannel shirt, baggy, patched jeans, rubber boats and a straw hat. In design two, I made the top orange, but really a single coloured top with strips was the idea. The jeans also were also not patched. This was the plan that I stuck with. The actor found baggy, faded jeans and a flannel top at home. I found a straw hat and rubber boats for him, so in the end the flannel top is blue with red strips, and the character has baggy faded jeans and a straw hat and black rubber boots to create the farmer style.
       Overall, it has been interesting designing, and creating these outfits. It is challenging because it is necessary to consider what sort of character the outfit is going on, the practicalities in terms of what the actor has to be able to do in the outfit and how fast it needs to be gotten off. It is also necessary to consider what resources are readily available and use them as far as possible for inspiration. However, I’m pleased with all of the final results, since they portray the character as he or she is, and the way that I had envisioned them to be portrayed

Thursday, May 26, 2011

Thursday, May 26, 2011

Today I took the measurements for the outfit that I’m making for Grandma. I’m going to a get a black long sleeved top and then get green material and an elastic band for the dress. I’m also going to have to find a wig and a shawl.
Also today, I designed the idea for my “pig mask”. As the animals grow, I will replace them, in black clothes and a mask that shows which animal I am. My pig mask is going to be ears attached onto a hair band and a paper snout.
I also realized today that we might not need to show Grandma shrink, because as she shrinks, she is behind a partition, so it will be almost impossible to do it.

Tuesday, May 24, 2011

Tuesday, May 24, 2011


Today I worked on finalizing the costume lists and tried to make sure that we had all of the costumes. I made lists for the Markus and Kento, of things that I wanted them to bring in. These are things that I know they have because we talked about what they had earlier. Then I made a list for my self of thins I had to bring in, and also a shopping list. Most of Grandma’s outfit is on it. I’m going to have to get a shawl and a dress. Perhaps the best way is to get a black top, preferably with a collar, but if I can’t find one, then I’ll get some black material and sew one. For the hem, I’ll get green material and an elastic band and Velcro, if I feel that it’s not easy to slip on and off. I’ll then sew the material into a dress and attach pieces of material in sort of layers with pins,  so that when Grandma grows, Kento can just let it down bit by bit. 

Monday, May 16, 2011

Monday, May 16th 2011

Today I just watched the rehearsals. This gave me a good idea of the way that the performance is going to go. It gave me an idea of how the characters are going to be portrayed and I was able to check that my designs met all physical requirements. I already knew that Grandma was going to be a witchy character, and I took that into account in the costume design. Her dress is sort of old fashioned and her hair is going to be untidy. This is why I chose design 2 because design 3 makes her look a little too nice. However, George I was a little bit more confused about. However, now I know that he is a young teenage boy. He is slightly annoyed at his father at times, but he is also afraid of his Grandmother. In this case I think that Design 3 will work.
In terms of the schedule, I think that I’m doing all right. I’m not on schedule, since I didn’t do the shopping yet, but I’m not in a hurry yet. Soon however, I will go shopping for a wig if I can’t find one and Grandma’s dress and shawl.  I might also have to get a straw hat for Mr Kranky.

Sunday, May 8, 2011

Grandma: Design 3

This essentially the same as Design 2, but instead of a shawl, she has a vest. I got the inspiration as I saw the vest in the cotume room, but I'm still thinking about which would be better.

Friday, 6th of May

Today I listened to the instructions given to the lighting and sound designers. It did not give me any ideas or make me realize anything in relation to my part but it was interesting all the same. Then I went into the costume room at school just to see what they had. I found some useful things. There were some flannel shirts that could be used for Mr Kranky, as well as rubber boats that would work if they fit Kento. There were plenty of dresses, but none of them really were what I had in mind for Grandma. There was also a grey wig, but it was not in such great shape. However I found a colourful knitted vest made out of different floral designs, which would work for Grandma instead of the shawl. I actually think that it might work even better in making her look mean and unpleasant.

Tuesday, May 3, 2011

George: Design 3

It was decided that George should be in shorts, so I came up with a bit of a younger style for him.

Monday, May 2, 2011

Today, we rehearsed in our groups again. I made another design for George’s outfit, because as it turned out, the others want to portray George a little differently to what I had in mind. I was thinking of making him look very teenagerish, but the others thought that he should still look a little childish. The other designs were all right. I also found out that I have a 500DKK budget for costumes, which is good because there are things that I might have to buy, like a wig and perhaps a shawl. I found out that the actors have a lot of the clothes needed already.
Kento has:
-    the baggy jeans for Mr Kranky
-    Flannel top for Mr Kranky

Markus has:
-    a cap for George
-    a t-shirt for George
This means that I’m well on schedule. This time we also discussed the set as a group, since we don’t have a set designer, so what sets and props we need is everyone’s responsibility. I said that I’d make entail plans, for a living room and kitchen set and then we go from there.

Saturday, April 30, 2011

George's Grandma: Design 2

These changes were made for practical reasons. The high neck was created because Kento will be wearing Mr Kranky's outfit underneath, and it has a collar, so Grandma's outfit has to cover it up. The boots are the same as Mr Kranky's  because there will not be time to change shoes. (It was impossible to get all of the notes, but atleast the outfit is visible)

George's Grandma: Design 1

Mr Kranky: Design 2

I made these changes in the design because I felt that the first design went a little too far in the "farmer" style, and would not suit George's and Grandma's outfits. Besides, I think that less coulors on the top is better. (Not all of the notes are visible, sorry)

Mr Kranky: Design 1

George: Design 2


I made these changes to George's outfit because it was decided that George would be a teenage boy, and the other outfit was for a little boy.

George: Design 1

Thursday, 28th of April

Today I worked on second sketches, revising them according to what Helen said when I showed her the designs. The biggest difference is that we are now portraying George as a teenager instead of as a little boy. I was thinking that it would be good to exaggerate the fact that George is a teenager in the way he dress, and make him dress in an extremely stereotypical way. I also worked on perfecting Mr Kranky’s outfit, which must fit underneath a dress (seeing as Kento will by playing both Grandma and Mr Kranky). Also Grandma’s outfit will need to be easy to pull on and off. I’m thinking that maybe I’ll make two parted a shirt and a dress, and arrange it so that it looks like it goes together. Also I’ll fashion in a Velcro or zipper attachment so that it can be easily pulled on and off.
I also devised a plan for how the work is going to get done:
1st week of May: finalize designs, figure out where to get things, get appropriate measurements
Either on the weekend of the 7th and 8th of May or the weekend of the 14th and 15th: Go buy necessary materials (for making the clothes that I’ll be making) and items and start to make the costumes
Weeks before the week before performance: make costumes and assemble the outfits
Week before performance: have costumes ready and tried on by actors and make necessary adjustments

Wednesday, April 27, 2011

Tuesday, 26th of April

Today, listening to the rehearsals, I got an idea of where the play is heading, and especially how the characters will be portrayed. First of all however, I think that Mr Sarstedt’s suggestion that we add a layer of comedy in with emphasizing that the actors are not exactly ideal for their roles, is a good. Otherwise it will look a bit weird. It also fits in with how I’m planning on dressing the characters. I’m imagining the Grandma in a long, sort of old fashioned dress, which can be made slightly dirty to give it a sort of witch like look. If it is a simple colour it will also work great with the way Helen thought of to make Grandma grow. The idea, as I understand, is to make Grandma a bit witch like. Also, since Kento is playing Grandma, he will need a wig. I was thinking of getting a wig that is deliberately a tiny bit too small, or somehow makes it obvious that he’s wearing a wig. For George, I was thinking of a little boy look, with shorts and a woollen top with a high collar, which can be pulled over the chin. Since Kento is playing Mr Kranky as well, he will need to have clothes that can easily be changed into or kept underneath the other set of clothes. I was thinking of a farmer style, with faded jeans and a flannel top that can be hidden underneath eh Grandma’s dress. Then also a straw hat perhaps.
Some of this can be found in our wardrobes, but things like the dress for Grandma I’ll probably make.

Thursday, April 7, 2011

Research: The role of the Costume Designer

What to do and tips:
  1. Read the play and jot down
  • Information on the time of the play 
  • Specific clothing needs of a character
  • Any clothing guidelines given in the play 
*make notes for each character
2. Draw sketches of every costume
  • Think of an overall theme
  • Ensure that a design suits the set the set and the other designs
  • Historical plays will need research into the dressing style of the time
3.    Decide on the fabric for each item of clothing
  • Try to find pictures of shoes and hats that will be needed
4.    Check the result
  •  Remove colours that don’t go well together
  •  Make sure that the costumes are not totally the same (tough try to keep a character in the same colour world)
5.    Have actors check their outfits
  •  Take into consideration points (if made) by actors on need of mobility for their character ect.
Fair, Kay. "How to Design Theatre Costumes." EHow. Demand Media Inc. Web. 07 Apr. 2011.
<http://www.ehow.com/how_4524273_design-theatre-costumes.html>.

Thursday, March 24, 2011

Performance Reflection

In general, I think that our group did a good job in our performance. It seemed realistic, and portrayed the whole idea of body image well. In the first scene the audience got an idea as to what was going on, and in the second it was confirmed. The communication between us was good, it was clear everyone knew what the others were doing, and the lines seemed to me to have emotional value. Bea for instance did a good job of getting annoyed at all of the questions that Helen and Sebastian asked. Also, there was a little ironic humour in the end as I went up and asked what was going on, completely clueless that they had just been talking about me.
I believe that I did well in some places, and could have done better in others. For instance, when me Kev, were talking, it actually did look realistic, as we were moving our hands, like people do when having conversations. This shows that I was able to use the concept of communion or communication well, even without actual words. Also, I think that in the end when I went up to see what was going on, I was able to use my emotion memory to realistically, however briefly, the feeling of knowing something is up, but genuinely not really knowing what was going on. Also, I think that I was able to use my imagination and the given circumstance to build my character, who is slightly pretentious. I think that just in general it can be seen from the way I walk, and the overly cheerful greeting I give Kev.
However, there are some things that could be improved. For one thing, my voice sounded a little weird. However, it did sound a little pretentious, which is good as my character is like that, but it did not sound very realistic. Also, in the end when I got to see what is wrong, it does not seem very realistic. My wave to Kev is slightly too large, and the way I sand when I ask what’s wrong somehow seems a little strange. So, I could have rehearsed smoothness in that spot a little more. So, imagination and emotion memory could have been applied more to think about how to behave in such a situation.
Still, in general, I’m pleased, not just with mu own performance, but with the whole performance as a whole. It was a lot less awkward than it was when we first started rehearsing. I think that I was able to portray my character reasonably realistically, and the over effect was what we set out to do.

Tuesday, March 22, 2011

Tuesday, March 22, 2011

Today, we tried to get out performance nailed, seeing as this was our last class before the actual performance. I feel that everything went rather smoothly; we have a performance put together. I think that everyone is putting in effort and are prepared. We have all of our logistics sorted out, on when everything happens. We might still have to try to make the characters seem more realistic, and there are some instances of awkwardness, so to speak. For instance, when Kev and Lousie are in the background, we have to pretend to be talking the whole while through, with out actually saying anything. This is slightly hard, but I think that it went a lot better this time than before. It just takes a lot of  using imagination and emotion memory to figure out how to act in the given circumstance.

Sunday, March 20, 2011

Research for Stanislavski research paper

Stanislavski believed that the key to portraying a character properly was for the actor to imagine a situation where they had felt the emotion that the character was feeling and to portray that.  This is called emotion memory.
Stanislavski created a three-part system. Firstly, the actor must get used to the role they are given, and explore what the character would do through thinking about the actor themselves would do. The second part is about using body and voice to portray a character. The third part is about applying the concepts to specific roles.
Stanislavski, especially later in his career, believed greatly physical movements. He wanted actors to be in character most of rehearsal as well as while acting. He wanted the actors to develop a believable character.
Stanislavski came up with a concept “Magic If”, in which an actor must think about what they would do in a situation if they were their character, considering the context of the play or the “given truth” of where when ect the character is. To create the character, actors also had to come up the biography of the character to make the character seem more real and to better understand what the character would do. The aim was to believable, because otherwise the audience would not believe it.
To help actors be more relaxed on stage, Stanislavski developed what is know as circles of attention. The actor first focuses on one other actor or prop as well as himself. Then they would focus on a larger circle, then a larger until the whole stage is covered. The actors, while practicing must create a communion between the other characters to be able to convey the relationship between the two characters. Dialogues were always practiced with the other character.
Each actor had to develop the right way and speed that a line is to be delivered and practice it. Stanislavski also told the actors to dived the play into units, each unit having a specific purpose, and once achieved, it ended. Through this the actors knew what they wanted to happen- whether they wanted to achieve the aim or to prevent it. The super objective was the main goal of the whole play. Each actor had to know their character’s feelings towards the super-objective.
"Konstantin Stanislavski and Method Acting." BBC - H2g2. BBC, 1 Dec. 2005. Web.
15 Jan. 2011. <http://www.bbc.co.uk/dna/h2g2/A5133151>.
Parts of the system that are important for my role:
-    The Given circumstance
-    Imagination
-    Circles of attention
-    Communion
-    Emotion memory

The Given Circumstance
Stanislavski describes the given circumstance in the following way:
“[t]he story of the play, the facts, events, epoch, time and place of action, the actor’s and [director’s] interpretation, the mise-en-scène, the production, the sets, the costumes, properties, lighting and sound
effects – all the circumstances that are given to an actor to take into account as he creates his role.”
Therefore, the actor must discover and be aware of the given circumstance, and then think about what they would do if they were the character and in that situation. The magic if serves to evoke the feelings that a person would experience in such as situation, and aids the actor to put themselves in the character’s shoes, so to speak. This is important because only through the superficial core of the play, in the way that the characters speak and react to each other and things that are going on, can the deeper feelings and the personality of the character be portrayed.
"Three Sisters Program Notes." Dalhousie University Department of Theatre.
Dalhousie University, 16 Oct. 2007. Web. 20 Mar. 2011.
<http://theatre.dal.ca/DalTheatre Productions/Three Sisters/Programme_Notes.php>.
Imagination
In addition to the given circumstance, the actor must know more about their character in order to fully portray him or her. Therefore, they use their imagination to build on the character, creating the background. Actors ask themselves “who am I?” This helps the actors develop the characters response to the given circumstance. It also aids them with recognizingm and formulating  the character’s objectives objectives.
"Acting Techniques Stanislavski System." Acting Classes. Web. 20 Mar. 2011.
<http://www.acting-classes-online-tips.com/acting-techniques-stanislavski.html>.
Emotion Memory
Stanislavski theorized that though emotion memory people could feel emotions from the past, as the brain remembers them. It is an important concept because it allows for the actor to portray the emotions and the actions more realistically. Actors must find the right emotion from their memory, and use the unanticipated inspiration that follows. Also the actor must come to realize when the emotion in their memories goes from “subconscious” to  “conscious”.
"Three Sisters Program Notes." Dalhousie University Department of Theatre.
Dalhousie University, 16 Oct. 2007. Web. 20 Mar. 2011.
<http://theatre.dal.ca/DalTheatre Productions/Three Sisters/Programme_Notes.php>.
Circles of Attention
Stanislavski came up with this because he often had nerve problems on stage. The circles of attention aim to help the actor be more calm and relaxed. It starts of with the actor focusing on himself or herself and a prop or another actor. This is then extended to a new prop or actor, extending the circle until the entire stage, or at least the entire stage as the character sees it, is within the focus of the actor. Then if the actor loses the concentration, they can begin again to build up the circles.
"Konstantin Stanislavski and Method Acting." BBC - H2g2. BBC, 1 Dec. 2005. Web.
15 Jan. 2011. <http://www.bbc.co.uk/dna/h2g2/A5133151>.
Communion or Communication
An actor cannot talk straight to the audience. They need to focus on the other characters on stage.
There are three ways to convey information in a play:
- “Self communication”: The internal thoughts of the character
-“ Communication with imaginative beings or things”: This is not visible, but it exists with the characters imagination
-“Direct communication”: This is with other characters and actors in the play
Communication can happen “externally” (this is visible and concrete) and “internally” (this is somehow unexplained, “beams or rays”).
To capture and to maintain an audience’s intrigue, actors must communicate amongst themselves. Before speaking, an actor must think of the emotions and thoughts of the character that they are talking to. After saying their lines, they must wait for the information to reach the character’s mind and feelings. In return, whenever an actor is being spoken to, they must let the characters  “mind” comprehend it.
At times, actors might experience sorts of rays that convey something, be it inner thought, emotions or feelings. An actor must recognize and show these.
Actors must take in information from all of their senses, and when this is strong, it is called grasp.
"Stanislavski." Dulwich College Drama. Web. 20 Mar. 2011.
<http://host.uniroma3.it/docenti/boylan/courses/gen/stanisl1.htm>.

Our script: A Day at the Gym

This is the script that our group devised together in class:
Scene 1
(The audience watch whilst Alice, a pretty girl, wakes up and goes to her mirror. She pinches her skin, as if it disgusts her. She then walks over to a kitchen, and takes three nuts and three dried fruits out of a box, for breakfast.)

Scene 2
(Alice enters the gym and sees her friends Poppy and Louise talking. She slowly walks over. In the background we can see Kev and Peter talking. Alice watches Kev longingly)
 

Kev: So, er what weights are you doing man?
Peter: Oh, you know, 25kg.
Kev: Oh what a wuss! I can lift 35!
(Louise walks over)
Oh look! here comes my girlfriend.
(Peter sighs and walks away)
Louise: Hey!


 Switches to Poppy and Peter's conversation 


(Alice reaches Poppy and Peter)
Poppy: Oh hi Alice! How was your evening?
Alice: Oh, it was fine. Thanks.
Poppy: Are you okay? You seem a bit... ill.
Alice: (Defiantly) I'm fine.
Peter: Is there something going on? You seem upset about something.
Alice: (starts crying) I'm sorry, I don't, I'm sorry
Peter: Alice. Tell me what's wrong.
Alice: I'll never be good enough for him! Ever! I'm ugly and stupid and fat
Poppy: Good enough for who?
Alice: Kev of course! And Louise. She's beautiful. She has such a perfect body! Why don't I have a perfect body?
Peter: Kev is a prick. And Alice, you, you're beautiful. Don't you see that?
Alice: How can you say that! Stop lying! Stop mocking me! (Runs away).
(Louise comes over)
Louise: Is everything okay...?

Monday, March 14, 2011

March 14th 2011

Today we began to practice our performance. We rehearsed the gym scene, which still needs quiet a bit of work. It doesn’t flow naturally like a scene in real life would. For this we need to work on timing, and think about how the characters would act around each other. However, we at least have a definite idea of how the performance is going to go, and we talked about our objectives. Also, we can all portray our characters realistically enough, everyone has an idea of how to say their lines and most of the time how to act. I believe that we are doing fine for this stage of the creation process.

Sunday, March 13, 2011

Character study

My Character Profile:
Name: Emilia
Age: 15
Student
Family: Has an older sister who is in University, and her parents. She also has a Labrador.
Personality: Cheerful, confident, outgoing. Friendly to everyone, but is slightly judgemental. She is the typical stereotypical teenager.
Activities:
Sports: Running and working out at the gym, however, she is not so sporty. She does exercise just to keep fit and in shape.
Free time: Loves to go to the cinema as well as hang out with her friends. Alone she listens to music and surfs the net.
Friends: Has a lot of friends, knows everyone. All her friends are nice, and most are outgoing.
School: She’s in 10th grade and does reasonably well, with average grades. Does not particularly dislike school  but does not love it either.

Wednesday, March 9, 2011

Our Performance- Units and objectives for my character

Character: I’m Louise,  a girl who is confident in herself, her body and so forth. I’m pretty according to the anorexic girl, Alice, but really, I’m not stunningly pretty. I’m also happy and cheerful.
Super objective: To hang out with my friends, and have a good time. I want to know if I've missed something.

Unit 1 (for me): Poppy and Louise are doing sit ups in the background, and the guys are talking in the foreground.
Objective: To engage in a fun conversation with Poppy, and to work out.I want to catch up with my friends.
Unit 2: I go over to where the guys are talking. Peter goes over to Alice and Poppy.
Objective: To catch up with Kev.
Unit 3: The guy goes up to the two girls who are talking, and tells the anorexic girl that he thinks that she’s pretty, but she doesn’t believe him. I go over just as she runs away.
Objective: To try to find out what is wrong with Alice.

Saturday, March 5, 2011

Planning of naturalist performance

As naturalist plays often deal with some issue in society, be it in a humorous or serious way, our group began the preparation for creating a three-minute performance with brainstorming ideas for the “issue” that we would focus on. We had all sorts of ideas, racism, environmental issues, stereotypes, ignorance, no freedom of speech, poverty gap, but in the end we decided on doing a performance on negative body image. It was between stereotypes and negative body image, and in the end it was a random decision, as everyone in the group found both ideas good. However, we needed a focus for negative body image, so we brainstormed some ideas. As it turned out, there was not that many different options, and they all lead into each other. Some options that we thought of were media influences, peer pressure, eating disorders, over exercising (including steroids). We decided on sort of combing the two, and having two parts to the performance: pressure for men to have a certain type of body, and for women. We didn’t get that much further, but it’s a start. 

Saturday, February 26, 2011

Anton Chekov

Chekov was born on the 17th of January 1860, in Taganrog, Russia. He studied medicine in Moscow, and wrote at the same time. We wrote a lot even during this period, publishing his first story in a newspaper in 1880. He wrote stories with tragedy, but he always added comedy as well. He became a doctor, and worked as one for a while, even though he wrote enough to survive on writing. However, his career in medicine had an impact on his writing. In 1887, he published his first set of books. Chekov wrote mainly about Russian life, and he was successful in describing that period of time in Russia.
"Anton Chekhov." TheatreHistory.com. Web. 26 Feb. 2011.
<http://www.theatrehistory.com/russian/chekhov001.html>.
Chekov wrote about Russian small towns, and the little troubles that occurred. His characters are often hopeless, and his stories deal with societal issues and people’s morals. However, he did not want his writing to be intended as a rebellion or a moral voice. In his stories, though the characters might be suffering, they never try to free themselves, but they surrender to their predicaments.
Liukkonen, Petri. "Anton Chekhov." Www.kirjasto.sci.fi. Web. 26 Feb. 2011.
<http://kirjasto.sci.fi/tsehov.htm>.

Tuesday, February 22, 2011

Death of a Salesman -Play- Units

Unit 1: Page 9 to middle of Page 10 This unit is about Willy working in New York, and how he was trying to drive, but found it hard.

Willy’s Objective: To seem like everything’s alright
Linda’s Objective: To make Willy admit that he is not alright- to make him relax.

Unit 2: Middle of page 10 to end of page 11 This unit is on an argument over the children. Willy thinks that the children are lazy.

Willy’s Objective: To get out his frustration over his children, who he sees as disappointments
Linda’s Objective: Calm down Willy, and to take care of everyone.

Unit 3: Page 12 In this unit Willy complains about their living conditions, in particular he complains about the neighborhood.

Willy’s Objective: To blame others for his problems, to convince Linda it’s not his fault.
Linda’s Objective: Calm down Willy and make him see that other people cannot be always be blamed.

Death of a Salesman- The film

I didn't see the end of the movie but here's what I got:

Objective of Willy in Scene 1:
Willy tries to keep his wife from noticing that he was spying at his sons in the room across them. He also tries to make her not feel anxious , that he is not hurt, as she seems to suggest.
3 characters who against the subtext
Willy: He is offered a job by one of his neighbours, and he acts insulted, telling him that he has a good job, though he had been complaining about his job just before.
Uncle Ben: He was acting like he was impressed by the performance of Willy’s son, Biff, but in the end he brings him to the ground, so he was really unimpressed.

Thursday, January 20, 2011

More on Stanislavski

Stanislavski believed that theatre was more that just portrayal of the visual world, which is what acting, was in the beginning of his time. At the time, an actor was simply supposed to be familiar so that people knew what type of character he or she was portraying, but Stanislavski did not believe in this. He thought that believability was the key. To do this, he devised a system or “the method”.
The main part of the system was “emotion memory”, recalling a time when you, the actor, felt the same emotion, be it fear, anger, sadness, happiness, excitement, and to try and bring that behaviour into the character. This is what Stanislavski began to work on later: how to integrate actions and movements from your own experiences into the acting.
Stanislavski allowed actors more freedom in the role, but it demanded more awareness of things like the subtext: the real meaning or emotion behind the text spoken by the actor.
"Constantin Stanislavsky." PBS: Public Broadcasting Service. PBS. Web. 20 Jan.
2011.<http://www.pbs.org/wnet/americanmasters/database/stanislavsky_c.html>.


   

Saturday, January 15, 2011

Stanislavski

Konstantin Stanislavski was born in 1863 in Moscow. Already at the age of seven he started acting. Stanislavski was to become the creator of naturalism. He created his own theatre, Moscow Art Theatre when he was twenty-five. He put on plays mainly by Anton Chekhov and Maxim Gorki, two Russian writers. 
Stanislavski did not like contemporary theatre. He believed that it was chaotic, with no structure. He believed that actors were not trained properly and rehearsals were not good enough. He disliked the “farce comedies” that were theatre at the time. He also believed that, unlike theatre of the time, costumes and props needed to planned and suited to the play.
Stanislavski believed that the key to portraying a character properly was for the actor to imagine a situation where they had felt the emotion that the character was feeling and to portray that.  This is called emotion memory.
Stanislavski created a three-part system. Firstly, the actor must get used to the role they are given, and explore what the character would do through thinking about the actor themselves would do. The second part is about using body and voice to portray a character. The third part is about applying the concepts to specific roles.
Stanislavski, especially later in his career, believed greatly physical movements. He wanted actors to be in character most of rehearsal as well as while acting. He wanted the actors to develop a believable character.
Stanislavski came up with a concept “Magic If”, in which an actor must think about what they would do in a situation if they were their character, considering the context of the play or the “given truth” of where when ect the character is. To create the character, actors also had to come up the biography of the character to make the character seem more real and to better understand what the character would do. The aim was to believable, because otherwise the audience would not believe it.
To help actors be more relaxed on stage, Stanislavski developed what is know as circles of attention. The actor first focuses on one other actor or prop as well as himself. Then they would focus on a larger circle, then a larger until their the whole stage is covered. The actors, while practicing must create a communion between the other characters to be able to convey the relationship between the two characters. Dialogues were always practiced with the other character.
Each actor had to develop the right way and speed that a line is to be delivered and practice it. Stanislavski also told the actors to dived the play into units, each unit having a specific purpose, and once achieved, it ended. Through this the actors knew what they wanted to happen- whether they wanted to achieve the aim or to prevent it. The super objective was the main goal of the whole play. Each actor had to know their character’s feelings towards the super-objective.
"Konstantin Stanislavski and Method Acting." BBC - H2g2. BBC, 1 Dec. 2005. Web.
15 Jan. 2011. <http://www.bbc.co.uk/dna/h2g2/A5133151>.

Tuesday, January 11, 2011

Reflection of Performance

Today in class we each performed our One Hander’s. I believe that my performance was about as good as I could have hoped for. I was rather relaxed, which allowed me to think clearly of what I was doing, so I was able to everything, as I had planned. This is important, as I had to remember to at times freeze and show my expressions and gestures. Therefore, overall I think that it went well.
    Through my body language I showed first the anger, by being tense and purposeful but then the frustration and anguish, by being lose and unclear in some of my movements, as well as almost crying. This fits in with Grotowski’s philosophy of the actor being the centre of a piece- they one who brings the scene alive. This is also reinforced by the fact that I had no props or special costumes, make-up or sets.
    My voice use was rather articulated I think. However, I might have used volume a little more, as I feel that I didn’t speak extremely loudly. However, on the other hand, this suits with the woman’s depressed and anguished feeling. However, I was able to use my voice in conveying anger in the beginning by using enunciation, and a slower tempo, and the anguish in the end talking with a slow pace and using a lot of breath as well.
    Overall, I believe that this unit went well and that I became more conscious about how I can use myself- by body and voice- to enhance a performance, to build a character and to bring out emotion. This is something that I was not fully aware of at the beginning and the concept of physical theatre, using only your body to convey messages, like DV8 seemed a little strange and was not something I was used to. 
I also learned a lot about how to apply techniques into a performance. It was quite a challenge with Grotowski as he did not have too many definite techniques that could be used, however I did get better at it. By looking at a philosophy of a practitioner and seeing what their most important messages are, you know what to focus on. If the practitioner uses specific techniques then you can try to incorporate it into the performance. However, it mainly is about looking at what is key and important to the practitioner, and applying those same ideas into your performance. For instance Grotowski believed in “Poor theatre,” which means simple theatre, with the actor as the centre of the performance. So, then if you were to use his ideas, you would not use special costumes, lighting, make-up and such but would create a performance explains even props. 

Sunday, January 2, 2011

Final research for Dramaturgical paper

When practicing for a play, Grotowski liked actors to be in simple clothed, and little attention was put into lighting, props and such. For the audience, he did pay little attention to them, but they did not occupy primary importance.
"Biography of Jerzy Grotowski." The Jason Bennett Actor's Workshop. JBActors, 2010. Web. 16 Nov. 2010. <http://www.jbactors.com/actingreading/actingteacherbiographies/jerzygrotowski.html>.

Grotowski thought that only what was on stage in the start of the show should be used during for the performance.
The plastiques: movement of heads, elbows, wrists, hips, chest, torso and other parts of the body
Facial masks: Grotowski worked with the actors to create a “mask “ that reflected the sentiments of the character
     
corporels: exercises for the spine and the flexibility of body to liberate the actor in the acting space.
Grotowski urged actors to utilize air when speaking. Voice was extremely important in bringing out the physical and mentall capabilities, according to Grotowski.
Grotowski encouraged the actors to breathe when they required it: not to save breaths. He believed that it helped their voice come out better, as well as breathing.
Grotowski’s main aim was to test the connection between the actors and the audience with each play.
There are not many specific practices of the Laboratory theatre that are specific to them, as Grotowski did not believe in specifying to the outer world what sort of practices he did, as he did not want to say that a specific training was the right one to train actors.
Grotowski handout.