November 15 : Slow hand clap: Ideas workshop
The day started with learning about kate's line of work, her various performances, costumes and stage design which she had covered over the past few years. We were also joined by Andrew Barnett, who was a PDP graduate from the previous years. His job involved designing and preparing shop window displays, specifically Selfridges.It was a different way of thinking, how work can be presented in different ways to a viewing audience.From being obliged to sit amongst a static crowd to freely enter an open area, choosing to stay or glance over at the open gallery behind a pain of glass. I started thinking of how my past and present work could be displayed within a window display. Using the entire space within to create an installation or message to a passing audience, influencing or inspire them throughout their day. Something perfect for this would be a project from the idea's factory. Originally creating a room full of mirrors and LED lights, inspired by Kasuma who uses reflection within her work. The display would exhibit warped and cut mirror facing out to the audience, The result would make the audiences reflection apart of the final result. This is something similar to Josiah McElheny's work ‘Interactions of the Abstract Body’ where his work showed performers wearing mirrors of different shapes. As the actors walked around the room, audience viewers would become a part of the performance as their images would be reflected in the mirrors.
We started to work with space and learning about the different ways to presenting our message to the audience. Understanding abstraction and numerous ways to portray different emotions. Tape was used to square off the floor and have an understanding of space and how we could use it to our advantage, covering the area as much as possible as a gymnast does when presenting a floor routine. We experimented with everyday activities, repeating movements, mirroring, reversing and slowing down. The performers found it difficult to replicate exact movements and were corrected by audience viewers watching.
Before the lesson, we were allocated tribes, all with different elements. I was positioned in the cleaning tribe and was asked to bring in an instrument which related to our tribe. The object I chose was a cleaning cloth, an everyday item used throughout most households, other people within my tribe thought of the same things, including sponges, J-cloths and water. Our workshop after lunch was to use these objects in multiple ways, including arrangements which contrasted to our tribe (Picture 1) we chose to use the word messy which was a contrast to the original, what best showed our tribe (picture 2) looking at cleaning up and putting away, we compacted all the fabric items into a Tupperware container & positioned next to the bottle of water. We were to show our word in another form (picture 3) looking at order and finally how we would interact with our objects to best describe who we were. Using scrub and polish movements repetitively one after the other in a canon. As a group I thought we were able to help one another with possible outcomes and influence others in what the word cleaning really meant, whether it was cleanliness, order, pristine, pure, immaculate or healthy. If we were doing this independently, I don't think the exercise would have been as effective, as ideas would have been slow after the obvious one's had been used. Joel was very helpful when thinking of how to present ideas as his dance skills enabled him to have a good understanding about transitions and movement.
The next task was to stand in the window display along with twenty other of our peers and follow instructions given to us by someone on the other side of the glass with a phone. This was an interactive task where the audience would become a part of the performance just by watching. The communication on opposite sides of the glass became difficult as the signal was weak. Diane, who lead us through this activity had to give clear and precise instructions to Jemima on the inside of the glass in order for this task to work. I found this task very interesting, knowing that the performance would change every time as it was performed, by the performers repeating different movements from selected people from the audience to copy and the reaction given to when a person realised they were selected out of the crowd. I would like to of experimented with different types of audiences, I expect the reaction from this being displayed in a high street shop window would receive a different reactions to showing this to a room full of children.
November 15 : Slow hand clap: Artist research
From 'Josiah McElheny - Interactions of the Abstract Body' I wanted to take the idea of interacting with the audience, I thought the simplicity of using a person's reflection was effortless yet effective, altering the entire performance every time, with a different effect on who was viewing the presentation. To replicate this idea I wanted to use an aspect which was out of the audiences control, compared to something such as turning a handle or pushing a button, I wanted the performers to have complete control of the showing. Taking the ideas from the workshop at the beginning of the project my group chose to use the idea of an audience's presence and everyday movements to replicate with in the performance.
'Yukio Ninagawa - Titus Andronicus' uses red fabric to replicate blood, this is a simple and clean method to replicate liquid. The thin strips of fabric move with ease and can replicate other liquids such as water with blue fabric. In other productions such as Macbeth at the globe theatre black fabric was used to replicate a dark spirit within lady Macbeth before as she died. An idea like this I think would be better for slow motion productions, able to have control over the movement and play with timing. Something to take into consideration when wanting to slow down or elongate the pace of a performance.
'Meyerhold' is something to keep in mind at all times when performing, understanding that the audience is positioned in one angle especially when presenting in a window display, when working in a tight enclosed and compact space the sides become obstructed by the walls, the audience's best position to stand is at the front. Understanding angles and timing especially when a production is silent increases the focus in movement, timing and composition. movements should be clean and timing should be impeccable.
November 15 : Slow Hand Clap: Initial idea
We used these ideas towards our final task, which was to portray our tribe as a performance in the window display of our class. We used Jemima as a fake audience viewer to walk past the glass, as she moved across the exterior of the glass, the performers placed in the window display would react to her movements as she moved our hand moved in time
of her body creating a rippling effect. As the glass was very thick there was no sound portrayed to the audience watching on the outside. This became an advantage to us, as we were able to communicate discreetly without spoiling the production, counting in each other in as we created canons and unison movements. The movement repetitively used was polishing, the glass worked as a stabilizer as we knelt on the floor and polished the glass, speeding up throughout the performance until we stopped in unison. The time taken to polish allowed Jemima to walk around and back into the building, joining us in the window and presented herself in the last final seconds of the production.
Overall I thought the end result was very effective and strong, we practiced timing when starting and stopping motions as we found this the hardest part of the performance, we wanted to be neat and clean adding to the word we were portraying. Joel was great help with composition and timing being experience from work as a performing artist. With my own past experience of dance and creating choreography I was able to help, arranging people in the correct spacing, understanding to include transition movements and work with levels to keep the audience alert and interested. The strengths from the performance was using clean and simple movements, creating a controlled and effective show. If we were to fix any problems or add to the performance we would each use different instruments of cleaning, allowing different performance to start at different levels and creating a contrast in space.
November 15 : Slow Hand Clap: Developed idea
The following Monday we were given a scenario unrelated to our tribe name, as well as subtext which defined the performance. The title given to use was
"The evening meal"
- Two people are having an evening meal, they have lived together for a long time.
We started storyboarding and mind mapping possible ideas as a group to execute our performance. We came up with showing a clear example of two people at a table having an evening meal at the end of the day. Their characters were an old married couple whose relationship had become stale, they followed a repetitive routine of coming home from work, eating dinner and going to bed. their communication to one another was minute, showing little if no interaction with one another throughout the day or even at meal time. We originally thought of having them sat in front of the TV creating an informal environment however we thought this would be too informal for an old fashioned married couple.
The performers presenting subtext would be shown wearing black, portraying the couple's true thoughts and emotions to one another while eating. When thinking of these ideas we related this experience to the movie 'Inside out' The story of four emotions controlling a girls thoughts within her head. Even though they are one body they are unable to communicate to one another as the girl is unaware of the characters shown with in her head. They portray each emotion as a colour, e.g happy is yellow, a representation of the sun being bright and cheerful compared to anger portrayed red.
The couple are unaware that the subtext characters are amongst them in the room as they present a conscious or little person within their own heads. The subtext characters and characters within the performance showed very juxtaposed feeling to one another, as the woman becomes more and more upset that she is not getting any attention from her husband she turned more emotional and angry towards her husband presented through the subtext, she however stays completely content, only showing a few subtle facial expressions to her husband across the table. The husband, however is completely unaware of his wife's wants and desires, reading the newspaper or playing on his phone mentally shown by the subtext.
November 15 : Slow Hand Clap: Final Performance
Physical objects and set used within the performance were white balloons, which were popped within the display on the interior and exterior of the window to present the sound of the balloon popping, these portrayed the wife's subtext emotions, being more and more irritated. At first, we used the white balloons in the dress rehearsals, resting on the floor. We then went away and experimented with colour and composition, what they expressed and how they were presented to viewers. We started to use blue as this contrasted against the white background and presented sadness, we also tied them to the wall as they were becoming an obstruction for the performances and looked messy. On the exterior of the window more balloons were popped simultaneously to the performance as the sound was lost.
As an extra we included throwing of water over the husband, this created another level of anger and irritation to the husband's character, it created a comic reaction from the audience and more commotion within the act, this action was done by the female subtext towards the husband, however as this action is done by the subtext, the husband does not react.
We also used a red table cover pulled taut between the two performers sitting on chairs and secured around the performers waist, tucked into skirts and trousers. The red colour represented anger between the couple as well as their long love relationship. Along with the tablecloth, both actors wore garments related to their character. The husband dressed in a blazer and tie to display an old fashioned view of a man's role in a relationship and using the same ideas to present the wife, dressed with a scarf tied around the neck with heels and formal dress.
The performance ends with the tablecloth being ripped down the centre by the subtext characters in anger of one another, this represents their relationship falling apart in front of them and deciding on a final outcome of splitting up. They end up walk off stage at opposite ends, the tablecloth still attached to both characters showing their marriage connected but fragmented.
Reviews we received back were that the performance was clean, simple yet effective. It was clear what the message was trying to present and the use of props and backdrop used implied the environment and setting the actors were in, overall it enhanced the performance able to make it easier to understand.
A few people from the audience were unaware of the balloons popped on the exterior of the window, as the environment was busy and a lot was going on around them. The feedback was useful towards making the performance better for next time.
Personally, I felt this performance was well executed, everyone contributed evenly towards developing the performance and used their own strengths to the group effectively. If we were to do this act again I would enhance the costume, designing a more formal way to connect the costumes to the table cover and look at finding a matching wardrobe for the couple and subtext. Other ideas to include would be to play around with the set design a bit more, as we played it safe with a simple silhouette design backdrop, replacing them with real utensils pinned to the wall, however space would have to be encountered.
December 15 : The playing audience: Brief
Using Granary Square and the surrounding Kings cross area as your inspiration and/or Gameboard. You will explore the history, physical, social and textural landscapes of your chosen area to create an interactive experience for one player or large scale theoretical game for many players/audience.
Individually, we ask you to develop your own idea however the final outcome my be pre- sented as part of a group. Choose a media/role you would like to demonstrate your skills in as this will provide strong content for you portfolio:
Option 1: Create a Main character or series of characters that the players audience en- counter [ This could included costume, prosthetics, puppetry ] What are their key charac- teristics, super powers, mission etc.. How do they interact with other characters? What is their back story?
December 15 : The playing audience: Artist research
From all the research I really liked the idea of the audience getting involved and affecting the overall performance or moving of a handles or stepping on a mechanism to create a reaction, examples of this are was the interactive projector, reacting to human bodies movements when standing in front of the projector and making a silhouette. The project picked this up as a barrier blocking the action such as falling balls or in other cases seen fish moving away and creating ripples in the water.
After looking at theses examples of audience members interacting with installations, I also researched examples where the public had no control over the performance. watching the spontaneous performance presented in front of them. Instead of being the main part of making the performance, their reaction was the main interest and documented while filming. Many cases included stopping to watch the commotion and getting out their phones out, other times the audience were given actions to do or asked obscure questions which they answered or did, playing along with the objective of the performance, in these cases they are mostly shown as an immersive performance, setting the scene with costumes and acting, Overall I preferred this type of reaction more as they are spontaneous and quick thinking or witty.
December 15 : The playing audience: Observational studies
After going over the brief with Gary and understanding the instructions for the task ahead we assigned ourself into groups of five and went to find a street name to portray. We walked around the back of CSM as this was an unknown location to us. To our surprise we found a set of fountains behind the building and chose this as our location. The street was 'Stable street' we thought of possible, simple way to present this the an audience watching it as a video. With sharia as the camera woman the rest of our group replicated horses, shown trotting around the stables and drinking from a trough shown as a flower pot.
The rest of the day we went around Kings cross and CSM, accurately document building, sites and actions, using a bamboo stick to measure close up areas of building instead of counting bricks and guestimating unknown sites. We also took these drawing back to the classroom and studied the grounds in relation to kings cross back 50 years ago, it was interesting to know how built up the area had become and the back history of certain building and street names, such as original uses of the Granary building and how the canal was used to transport good across London.
We also had a pop quiz, using questions from around the class, testing each others knowledge of kings cross' history as a group. Question such as how did the kings cross fire start and where came up along with harder question like how many taps are there within kings cross station. It allowed us to have a head start for research on the main rask of the brief and was a way to add to the lesson and make the end of the day enjoyable.
December 15 : The playing audience: Research analysis
What I found most interesting from the research was that Queen Boudicca was supposedly buried under King's cross station between platforms 8, 9 or 10. From having an interest in classics, I started looking further into this idea. If so where, when and why? It was said that that King's cross was originally a battlefield and that she had died poisoned herself to stop being captured in AD 61.
I thought this would be a great starting point to create a character from, using the contrast of old history with modern buildings. I started looking at video games where possible fighting was involved for protection and came across Lara Croft. She is shown as a strong independent woman fighting against the bad to make the world a better place. I thought the two characters worked hand in hand as their aims seemed similar and had close characteristics, merging the two together would create a juxtaposed feeling of old vs new.
I through of Lara Croft, she is shown wearing tight and revealing clothes, in most cases, she is needing to be quick, light and agile as she's scaling cliffs or walking across ladders backward while fighting off men with a gun in each hand. This would make Queen B more modern and fit into societies fashion. Lara is also given a selection of guns and ammo while running through each of the levels and completing tasks. There are also various mini clips of the story within the game when passing each checkpoint to help the game player understand what's going on and next mission to complete.
To keep both stories original I wanted to keep the story plot of queen B the same. Start the game located at her designated grave between platforms 8, 9 and 10. This way if she was to be killed during the game the starting checkpoint would be an ironic witty statement of the game as well as linking back to the history of the building.
December 15 : The playing audience: Inspiration
When going out around king's cross and looking for inspiration to draw I was amazed of how many people travel through the station. As someone who lives in south London it takes a few train changes to travel to and from king's cross, passing through multiple barriers, changing platforms and trains along the way. I myself can only just manage all the interchanges and reading of tube destinations to know where I should be. So I couldn't imagine how strangers know how to get around London, especially during rush hour.
The average commute takes about an hours to travel to their destination and same when returning, Rush hours runs from 9am and 5pm-7pm depending on times within the year. Foreign travels are most likely to travel during school holiday seasons, but many also go during term times.. the most busiest. I wonder just how many of the busy travelers would help out a lost person amongst the crowd of kings cross? Would they be helpful, would we be too British to talk to strangers, turn up their music, mostly likely I expect they would be blanked, and pretend they are oblivious to their needs.
What do you think, it would be an interesting social experiment taking place to see how much we have changed in the world.
December 15 : The playing audience: Game concept
To start creating the garment and characteristics of my game I started creating a plot and story line.
The Story plot: It's 2016 and Queen Boudicca resting place has been found. With new scientific technology they were able to take samples of her DNA and raise her from the dead.
From King's cross station can you return Queen Boudicca to her InIceni people using modern technology, she's helpless and unknown to this new way of living. It's up to the Britons to guide her back to safety without getting into trouble.
The Misson: It's up to the Britons (Londoners) to help her find her way home. Help Queen Boudicca collect items before returning back, search for sensible clothing, food and shelter, an oyster card and the correct platform and train. can you do it?
Do you think the everyday Londoner would help a poor defenseless woman like Queen Boudicca find her way home?
How much help are the Londoners of Kings Cross?
December 15 : The playing audience: Making
I started at once to create my character as I knew it was going to take a long time. A family friend suggested of investing in a Wacom as they were becoming very popular in the professional industry and a new way of thinking when creating sketches and digital art. This was new to me and was interested to try out. The end result was good however, took a long time to create and was unable to create fine detail with such as big instruments like a mouse or finger.
Using my original sketches scanned into the computer was the most help, I was able to trace the building and add extra detail to areas needed. When creating the character, I found myself referencing to a mirror to understand the anatomy of the face, where all the details sat on the face and where the body created shadow.
December 15 : The playing audience: Final design
Jan 2016 : 1616 Shakespeare is dead: A winters tale
After going over the project brief, of how to create our work sustainable, we got straight into looking at the possible plays to choose from, we were all allocated various works of Shakespeare. I was given 'A winter's tale' along with Joel, Liam and Kevin. As a group, we went through the play and everyone took on a character to read. After reading, we were given a sheet of paper to write main aspects of play, props, enters and exit scenes, and whenever there was a change in the story.
Other exercises included drawing scenes from the play, specific characters, relationships and interpretations of characteristics rather than visual features.
I personally found these activities rather hard when drawing characteristics and scenes, I felt there was almost a language barrier due the way Shakespeare writes and on common occasion not being able to understand specific descriptive words, activities and metaphors used, this made the analysis and understand of plots lines and activities harder to interpret and imagine.
After this activity we were told to research as much of the play as possible, changing plays if wanted, working independently, in pairs or as a whole group. Personally, I found 'A winter's tale' very hard to create imaginative imagery for and asked Marie to change over to a play which I was more common with. I ended up changing to The Tempest Act 5 Scene 1, A play I was much more familiar with as I had acted in it ten years ago, playing Miranda. Even though it was a long time ago researching and watching a few clips quickly rejigged my memory of the play, plot lines and specific characters.
Jan 2016 : 1616 Shakespeare is dead: The Tempest
When entering the new group of Georgette, Holly Lam, Annie and Julian, most people had already allocated what they were going to do for the project, Holly - Ariel, Georgette - Prospero, Annie - Miranda and Julian - Set design. Even though I was one step behind everyone I quickly caught up. Originally I was set on creating Caliban or Ariel before even looking at the play, but when going through possible outcome,
1. You may decide in the group working on the same scene that you are each working on a particular character. 2. You may decide that each of you develops ideas for the same character but in different scenes of the play. 3. You may decide to work on the same scene but concentrate on different elements (set, props, sets, costume). 4. You may decide to have complete separate responses to the text and use each other as a sounding board for idea development.
I was much happier working alongside Holly in creating two different types of Ariels from differents parts of the play, We were able to help each other as a pair and entire group for possible outcomes to use and inspiration and ideas. Holly and I were working independently yet keeping each other informed about our ideas and ideas for others within the group.
Jan 2016 : 1616 Shakespeare is dead: Research
For research I looked at numerous productions of The Tempest, analysing their interpretation of Ariel and how they presented this. I was interested to see the colour blue came across in a lot of the designs, as it represents three of the five main elements in the world this is something to take into consideration, using it towards the first act when Ariel is seen as wind and water as well as throughout the play where in most cases 'he' is seen as a spirit in the air. I also saw that two of the plays used stilts to extend Ariels body. The designers obviously wanted to show Ariel as an intimidating character during the scene and cared less about movement.
From this, I looked at the Harpy eagle as this was the primary starting point for this mythical creature, looking at artwork which related and costume designs linking to the idea of bird species. Artists which I took into account was Lez Brotherston who worked on the Swan lake and Alexander McQueen who did a collection about evolution and nature. Another take on the idea of people dressed up as animals is 'Still life The penguin cafe'. Costumes involved wild animals including birds, (penguins) Zebras, goats and many more. Some wore face paint, or masks, others wore headpieces such as the models wearing animals skulls representing the fashion industry.
Jan 2016 : 1616 Shakespeare is dead: Character analysis: Ariel
Ariel is an androgynous character within The Tempest. Ariel is thought of as a spirit and shape-shifter rather than being presented in the form of man. Ariels physical form is ambiguous, able to roam around the island, free to enter and exit with ease. however, thought the play and in many interpretations of The Tempest, Ariel is presented as man form. Ariels job is to be Prospero’s spirit helper after he rescued Ariel from a tree enraptured within by a witch called Sycorax. Ariel is Prospero’s full-time servant and is only visible to Prospero making Ariel dependent on Prospero. Ariels is released at the end of the play after serving Prospero well and following all his orders. Ariels Characteristics are shown as mischievous and ubiquitous, however always manages to fulfil Prospero’s needs.Ariel is seen in many forms, following elements of the world, seen as earth, air, fire and water well presented in the film of The Tempest in 2010. Half way through the play in Act 3 Ariels is seen as a Harpy to the audience as Ariel is non-existent to the rest of the characters within The tempest. This creature is shown as a female human with physical features of bird arms and legs. A dark and scary creatures used to send Alonso and his acquaintances under a spell with music into a fixed like state.
Jan 2016 : 1616 Shakespeare is dead: Initial designs
Initially, both Holly and I wanted to keep the costume design very similar, keeping the costume design almost identical and changing small details including colour, size and materials. We used the Globe's production of The Tempest for a lot of the inspiration, we wanted to show obvious links to show that we were the same character, examples of this was a head-piece or mask in the formation of a bird, Holly decided for the skulls of a Harpy eagle, an image which contrasted to her innocent character Ariel during the final scene. In relation to this, my own juxtaposed take on the idea was a bird beak mask, covering the lower half of the face, removing the main human face features.
Other ideas were using feathers, a clear reference to birds or flying like a spirit which worked to both of our advantages. I looked at possibly using feathers towards my garment, I thought the price of feathers too much for a project covering sustainability and looked for an alternative, cutting up fabric into fine strips was possible however took up a lot of time for the size of my initial designs, making the strips thicker looked messy as they were all different sized and less professional.
Jan 2016 : 1616 Shakespeare is dead: Developed deisgn
We also thought about extending the arm movements, creating a garment which attached from the top of the arm to the side of the torso creating wings or excessive skin like flaps, playing around with the idea and understanding the anatomy of the animal and relationships to the design, we realised this may be perceived to the audience as a bat like creature instead of an eagle. Other things to take into account was the movement restriction or weight of the material. I looked at Lez Brotherston who designed the swan lake garments, especially the famous garment worn by Adam Cooper. He said in his interview that his designs were made bigger than the performer intended, allowing movement when dancing. If his garments were fitted to the performer it would restrict the dancer being agile and flexible particularly lifts and jumps.
Jan 2016 : 1616 Shakespeare is dead: Half way through
As a group I thought we worked very well together, keeping everyone informed if changes or alters were made, and how these changes might affect others within the group, what other could change to connect certain characters together to create a stronger character connection such as Prospero and Miranda or Prospero and Ariels. We used social media to interact with each other which we used most of the time as we all had access to it on phones and computers.As somewhere confused with the brief or play, we were able to work together and help each other out ensuring everyone was on the same level and no one left behind. Becuase of the connection everyone had within the group we decided to perform as a group, creating a more effective and overall more finished performance.
After the first two weeks of researching possible outcomes in-depth, we started creating our pieces, Some preferred to work at home such as Holly, Georgette and myself, but kept each other updated with photographs and alteration. We took the time in class to carry on sketchbook work or help Julian with creating cages, working out the correct composition of fabric and items within the cage. I thought we all worked and contributed equally towards to group. One strong idea shown throughout our group is the use of feather or tribal beads, shown throughout the entire groups pieces of work.
Jan 2016 : 1616 Shakespeare is dead: Making
When creating my final piece I took into account one of the main aspect of the project, making it sustainable, knowing that my outcome would be pricey if bought new, or even real, I looked around charity shops, (Fara, Oxfam, Red heart) scrap fabric shops and spare material within the class, I was able to find well priced items, big enough to create samples and the final design.
From having previous experience in textiles, it was easy enough for me to create a pattern piece fitted to my body using the right measurements and instruments for creating an accurate pattern piece. However, I had never worked with fur material or created a coat, making it a bit more difficult for me. I researched whether I would have to use a special leather needle or change the tension on my Brother machine, making it easier to sew. After looking at various articles and videos, I was confident the proper way to pin and sew with fur.
At first, I created a toile, using scrap fabrics found the house, jumble sales and within CSM, the end result had a few problems with it including the arm seams being too big creating excess fabric and looking odd shaped, I also wanted to alter the collar of the garment as this came up too high on the neck. I though the length was perfected and was my intention to have long, however, the coat overall turned out a bit bigger than expected due to the 2.0cm seam allowance I had given myself and which I didn't end up needing. Once remeasured, pinned and hemmed to the right size it fitted perfectly and was very happy with it to start making the actual garment.
Jan 2016 : 1616 Shakespeare is dead: Final Outcome
Ariel Harpy, designed to fly in the night sky following the whistling of the wind and swim deep underwater till the light goes black. His long, thin and delicate waterproof feathers allow him to move swiftly amongst the island with ease making him the most dangerous of all creatures, even though he means no harm, his island is everything to him, protecting it at every chance.
His dark blue complexion allows him to camouflage with ease amongst the stormy clouds, able to look down on the island and protect from afar, flying free with the birds and similarly able to come and go as he pleases. His only duties are to serve Prospero, coming to his need with a whisper of his name. With his long legs higher than the trees, he is abe to guard the island, from unwanted predators, looking down from the sky and rain down on them if they dare to enter.
Ariel is the sun, the earth, air, sea and wind, his transparent body gives his more power than anyone on the island, his actions may cause harm but no intention of taking a life. he is there to serve Prospero and only Prospero.
Other than his orders, Ariel is a mischievous creature, playing games and causing mayhem with other less powerful than himself. His beak is misleading, purely to hunt and scavenge for food, however serves well to intimidate unwanted being who wonder lost onto the island.
Jan 2016 : 1616 Shakespeare is dead: Initial Performance
When thinking of ideas for a performance we each created a story board, discussing as a group what worked and extracting the best ideas from each of them. we thought it would be best to keep clean and simple starting and ending.
my ideas .....starts and ends with Prospero being the only character on stage
starts and ends with Prospero being the only character on stage
Should use gels to create scenery or spot light if possible ..
start: completely darkness .. audio monologue of Prospero saying something along the lines of bring alonso and his companions to me..Miranda is in her cage in a freeze frame position already on stage centre.. Prospero is already on stage, lights go up.. ariels walks on stage with cage walking slow.. place back to back of
lights go up.. Ariels walks on stage with cage walking slowly.. placing the cage back to back of Miranda's. Could use people from the audience staged or unstaged to stand in the cage as Alonso and his people. Audio or verbal speech about
Audio or verbal speech about Prospero forgiving and freeing the people. Cage people are released and leave apart from Alonso... Prospero reveals Miranda and Ferdinand to Alonso. Alonso is ecstatic to see them and all the three characters walk off stage. Prospero backends Ariel over, releasing him from his duties and lives as a free spirit. exit Arielthey walk off stage
Prospero is left on stage along ... audio or monologue of famous ending soliloquy... he removes his cloak and holds his staff in his hands. staff snapped same time lights go down.
Jan 2016 : 1616 Shakespeare is dead: Development of performance
When going over the story board for performance, we all thought it was too formal to present, using audio monologs prerecorded and acting out the scene precisely to the play itself, it would also not have been as effective as we didn't have Alonso, one of the main characters within the scene.
We decided to take it back a step looking over the story board again, turning it into a interpret movement performance with just music as the audio and no dialect as no one was truely confident to talk within our performance. I was designated choreographer, having previous experience from gym and dance, and understanding what was clean, messy or needed to be changed, I though I equally allocated the same amount of performance time and actions to perform.
We blocked it out multiple time a few days before the actual performance, first by counting in everyone's steps and telling everyone when they were to enter or exit, we then used the music to learn our parts and finally we knew everyone's movements, that no one needed counting in or reminding, over all we prepared our performance, ensuring nothing went wrong.
Jan 2016 : 1616 Shakespeare is dead: Final performance
On our first performance, we had some technical difficulties throughout the performance, not being to see each other on either side of the glass, making our timing off. The audience were also unaware to place their self to see the performance as we came on stage from different areas of the building, creating an obstruction.
Due to the building, the connection was poor making our sound off and buffering. We ended up not playing it on the first performance, this however, didn't affect our performance as we knew all our cues however, I think the audience were confused as the piece was specifically designated towards the music. Alternatively, we should have downloaded it before on a CD, but we needed to play it on our phones as we were using a blue-tooth connection, inside the cages, hidden and disguised under the cloth.
The second performance went much better, with help from the usher's placing the audience in the right direction. something which occurred in both performance was spacing at the front of the performing area, both times, the ariels knocked into each other, but managed to style it out, without a problem and didn't happen again throughout the rest of the performance.
Things which we encountered when going through the dress rehearsal was fabric getting caught in the wheel, this was from material sitting at the bottom of the cage, because the floor of the cage wasn't closed it meant fabric was able to fall onto the floor easily. we fixed this issue by finding a thicker material and doubling it over so that it would be able to get wedged within the wheels.