In our commission lessons today we looked at movement and force relating to the transitions to the magic paintbrush piece we have started devising. To start off, we individually created a sequence of movements using the idea of pushing the air as if it were heavy. This created the look of force which we want for our commission piece to help it look visually interesting. After this we then proceeded by getting into pairs to join together our movement sequences to create a larger movement duet. Karolis and I decided to use our height differences to our advantage which ended up with a piece that looked almost like puppetry. One thing that separated us from other pairs was the contact used and how his movement impacted to mine. This was enjoyable and it turned out successfully in my opinion. Below you can see our finished result.
Due to some time focused on movement I believe this activity positively enhances our commission piece as the transitions between scenes and locations have more purpose and increased fluidity. We then went over the devised start of the magic paintbrush we had previously created and went over weaker sections. Lynn decided that when we did it she would play the role of a ‘bad audience’ to challenge us and show that we really can’t predict our audiences behaviour as they will be a public passers-by audience; we have to be prepared for every circumstance. Luckily as I have done a lot of improvisation in the past I was able to quickly adapt our piece with a few simple lines that allowed the plot to continue. This is likely to be something that we will have to use in our actual performance. It’s important to be fast thinking when audience participation is being used. We then discussed director’s language which may help us in the future if we decide to become directors or teachers and even in every day circumstances. Director’s language consists of a balance in creative and critical lexical choices which comes across positively rather than negatively. Positive language often gets a better response as it doesn’t make a person feel as though they have done badly or failed but constructively gives advice while making them feel valuable to the process. After discussing this Lynn showed us how to use director’s language through her advice for our work. One of her pieces of feedback was that our reactions as background characters need to be clearly placed as though a story teller was telling them. This means that we create a more exciting atmosphere as the reactions often get passed to an audience making them feel the same as we do.
After college I went to Spinning Wheel Youth Theatre Takeover as I do every Tuesday night. We have three hours to work on a project as a group and currently we are working on A Midsummer Night’s Dream by William Shakespeare. I am playing the role of Hermia and I found this session particularly useful as we looked at iambic pentameter and dissecting the language focusing on nouns and verbs and their importance in our speech. This has really helped with my understanding of not only A Midsummer Night’s Dream but a lot of Shakespeare’s work. I am now finding the heartbeat rhythm easier which helps the flow of my words. It is also good for spotting irregularities when he goes off the ten syllables and iambic pentameter which also shows a change in character’s emotions or particularly strong emotions. This has really helped my characterisation and will be invaluable in my understanding of Shakespeare.