Blocking scene 5

As this was the last scene, all characters were involved in this section at some point as the story comes to its conclusion, as the Baker finally manages to retrieve all 4 items needed to reverse the witch's curse. Rapunzel too finds her beloved prince, milky white can now produce milk, the witch is 'returned to her former state of youth and beauty' and  so on. The finale song begins with the two narrators (holly and I) with a solo each, in which then the rest of the cast joins in to continue the song. We have not figured out the blocking yet for where our positions will be for the finale dance, but my character remains DSR. 

Development Scene 5

As we developed this scene, we didn't know what yet to do for the finale songs, as when we researched other performances of 'Into the Woods', their final part involved lots of movement and contrasting elements between the males and females, for parts such as 'men: to lift the spell, women: to lose the longing...'. However we practiced the ques for our singing parts as me and holly have a solo each. We all also need to use our breath control as there is a lot of lyrics in one breath's worth, and the intonation of the song. Half way through the song, it then transitions into the original 'Into the Woods' melody, which is a more jolly, march-like tune. We then decided to add marching to the beginning of this section to show the change/contrast.

Development scene 4

In this scene, we worked on our cues and I thought on when I need to be entering and exiting. I planned to enter on the line in scene 3, just before it leads into scene 4. This way I will have time to make my way to my position instead of running in last minute. I looked over my other scene cues aswell to make sure I know when to come in and say my lines.

In Izzy(the Witch)'s solo 'Stay with me', the whole cast performs a dance behind the Witch and Rapunzel, in which me and Holly (the Narrators) hold our positions. We were wondering if we should do subtle movements such as swaying in a circle to reflect the movements of the wind blowing through trees. However we were not sure of this as the Narrators don't usually involve themself in the story as it could confuse the audience.

18th November after College tech Rehearsal

Today we did our first tech rehearsal in our new location for our production. We all set up the seating area for the audience as well as main features of the scenery such as where to place the large cut out painted houses (one for Jack's house, the other for Red Ridinghood's grandmother's house), and Rapunzel's tower. As the speakers and microphones were set up, we practiced certain scenes often being accompanied by the back track to check as well as practice speaking/singing with mics on. As our new location has different pathways for entrances and exits, we re-blocked certain scenes so it fit correctly.

Homework - Assignment Brief

Assignment Brief

The 'Into the Woods' production includes a combination of singing, dancing and acting which fits in with the genre of musical theatre. Overall, the play is exaggerated as it has panto-style characteristics, such as comedy features throughout.

I feel I need to rehearse my cues on when to enter and exit (which is sometimes during songs and other character's lines). This is important as I need to be prepared for my lines. I also need to rehearse my singing solo as I am still not completely confident in performing it, as it is much out of my comfort zone range-wise. I feel I still need to rehearse my character's disposition, as the Narrator role is unlike most Narrators in plays, because they involve themselves into the story at times, interacting with other members of the cast.

I work well with my class friends who I support as well as gaining feedback about my performance, often suggesting ways we could improve/enhance our performances and general work. I am confident with my lines and speaking out to an audience, however I lack confidence in singing infront of others, especially on my own. Me and my Narrator pair 'Holly', both exchange ideas and evaluate each other so we join together as a sort of 'duo role'.

I feel I am developing in my singing skills as I am being pushed out of my comfort zone, and my 1 to 1 singing lesson with Kim helped me strengthen my vocal technique which gave me more self-confidence. I feel very self-assured in dancing, as it was something I've done for many years before, involving performing to large audiences. So, combining the dancing with singing definitely boosted my confidence. As I have little experience in acting but a wide interest in the skill, I still have a lot to grasp. My role in 'Into the Woods' is sometimes difficult to show a variety of acting skills as the Narrator maintains the same mood/emotions, as well as remaining mostly in the same staging spot (DSR).

I feel I am independently approaching the right aspects to apply them to the context of the play. This play needs exaggeration, strong contrasts of scenes and emotions, the strong deliver of the comedy aspects, and atmosphere. My role maintains calm and quite basic gestures, and a relaxed but strong as well as enthusiastic tone of voice. This can portray my full control over the story, as I am seen as a leader who directs the characters into each scene. For the finale, the rhythm and pitch of the notes are very uplifting as it represents the 'happy ever after' ending to the play.

I am in the publicity and marketing group with a few others where we will be making the programme as well as selling and making the tickets, searching for sponsors and creating a poster. I will be in charge of writing a synopsis for the programme, briefly explaining what the production entails.

Myself and and Narrator 'Holly' researched clips of other Into the Woods productions, and observing the different ways they presented the finale musical number, movement wise. We suggested all of the characters remain still whilst the two Narrators weave through the random formation of them. This is where I would be speaking my lines which explain how every one could live in peace once again. By the end of my lines, me and Holly would be standing opposite to each other, facing towards the audience infront of the rest of the cast. Then, when the first singing line begins (Narrator solos), this will be a trigger for everyone else to start performing a group routine.

I feel always up to trying anything new, even if I struggle or am a bit nervous. My energy levels are usually high as I find this course the most interesting and exciting, however I think I could have more input in suggestions to ways around problems or just general opinions.

I always keep up to date with my line learning and ensure I have memorised it for when practising in rehearsals without our scripts. Though, I need to remember my cues for the lines as sometimes they are very far apart and even a change in scene. I can also easily remember the dance moves and staging directions for the final song section.

Character Analysis

Development Scene 3

As I am not in scene 3, I scanned through my lines and what else happens in scene 4 and 5 to begin to memorise them even though we were still allowed to use our scripts. This was to prepare myself for when we moved on to the next scene and show I am willing to my role.

Development Scene 2

For development of scene 2, we rehearsed again outside the Sealight Theatre for our 'woods' location, which I feel helps us get into the mood of the context. I need to focus on my positioning and where I enter from and leave to in-between spaces of my line parts. So, I made notes in my script, labelling and annotating where and when I enter/exit.

1 to 1 with Kim

I had a 1 to 1 singing lesson with Kim whilst everyone else developed scene 3 ( the narrators aren't involved in this scene) . In this, we focused on my solo part in the finale song, which I was struggling with mainly due to the high range it reaches. Using the piano, Kim went through a variety of warm ups and exercises to help loosen up my vocal chords. I explained to Kim how I find it difficult to project in head voice and switch from chest to head. She explained how lifting the soft palate(soft part in between front teeth and back of throat), will help me sing high notes clearer and easier, using a 'gargling' excersise (pretending to gargle after brushing your teeth) which opens and closes the palate. However, as the majority of my verse is on my 'break' (a section of your range dividing high and low notes), it makes it more of a struggle as I either have to simply practice and practice until it improves, or just sing completely using my chest voice in the upper ranges as well. I also discussed with Kim a vocal excersises I found very helpful to support my range scales. This, I have included in one of my singing lesson blog posts.

Overall this session helped me with not just this solo, but the other songs I am included in, as they are all similar in range. It also gave me more confidence as Kim reminded me to always stay in character, how the narrator would show their persona through facial expressions whilst singing, which also communicates the meaning of the song which is that everything has resolved.

Development Scene 1

After simple blocking of where each of us would be standing and moving to, we then began a quick run through on scene 1, ensuring we had all remembered our spacing and movements. Scene 1 starts with the characters in scene 1 behind the 2 narrators (Me and Holly Hopkins) who stand downstage opposite to each other on each side of the room. Each set of characters behind us would perform miming movements to subtly illustrate what their role was. For example, the Cinderella character kneels on the ground scrubbing the floor, whilst the Stepmother and Florinda and Lucinda(Ugly sisters) act out 'getting ready for the ball' gestures and facial expressions (powdering faces, giggling, vanity). Then, with the aid of the voices on the backing track, we went through our lines as the first scene began.

Blocking Scene 4

In this scene, many events occur in a really short space of time, including the witch lifting her spell off the baker and his wife, jack reuniting with his beloved cow (who can now produce milk for him and his mother), the mysterious man's identity revealed but to then die, the witch's ugliness unravelled and much more. Me and holly still remain in our downstage positions.

Blocking Scene 3

In today's lesson, we blocked scene 3 which revolves around the Baker who has to overcome certain obstacles in retrieving the yet another object for his curse to be lifted, and Cinderella and Rapunzel's princes exchange in conversation subject to their distant loves. Even though my character is not in scene 3, I still familiarised myself with this part of the script to know when I then return to the stage for the next scene. I also observed the two duets in this scene to take note of techniques and use of body language to reflect in the Narrator for when I perform my solo in the final scene. Whilst I wasn't involved, I went over my previous lines so I could start memorising them for when we start to rehearse the production after half term without our scripts.

Blocking Scene 2

Blocking Scene 2

In this lesson, we covered scene 2 which is set outside the theatre close to the entrance. We decided on the outdoors setting as the natural surroundings/props/features (trees, grass, breeze etc.) helps really envision the basis of the musical; the woods. This idea is also much more resourceful, as we do not need to re-construct the background and the attributes of the forest scenery and attempt to make it as realistic as we could. As we began blocking the scene, I remained in my original position of DSR, opposite to Holly in DSL. We were thinking of my position infront of a bin possibly covered with a type of sheet. We will also use the exit glass walkway, away on the side of the staging for certain characters to enter from, which would also be covered with a type of sheet to hide everyone preparing to go on. Because scenes 2 and onwards are performed outdoors, the environment can become distracting e.g strong wind/rain, so we need to concentrate and uphold our characterization, as well as our volume and pronunciation of words.

--Picure of sealight theatre--

Blocking Scene 1

 Blocking Scene 1

This lesson, we first began setting the staging for the first scene 1 in 'Into the Woods'. As I am the narrator, I usually remain in the same location of the stage (Down-stage right a.k.a DSR). Narrator 2, Holly, stands opposite to me in Down-stage left a.k.a DSL, also facing DS. I've annotated this in my script, also highlighting my lines which are every other Narrator line. Before the opening line, the music starts in which me and Holly, who are facing US, turn around to DS. Further into this lesson, we practiced saying our lines accompanied with the 'Into the Woods' voice track, to see if we could keep in time with our characters speaking. I need to focus on maintaining an upright posture to reflect my character's sense of leadership of the whole production. By the end of this scene, we finish by performing our introductory song 'Into the Woods', where all characters on stage encourage the audience, whilst singing+/dancing, to make their way towards the exit path leading out to the next stage for scene 2 onwards, which will portray the 'woods'.

Into the Woods - Ofsted Lesson 2

Today we recapped our character's super-objectives, also by performing a mime to go with what it is. For example I walked around the circle with my hand by my ear making a 'listen' gesture to show I want to be heard. We then did an improvisation-style game where someone would go into the centre of the circle and mime an activity. However, they would say they were acting out something completely irrelevant. This new activity would then be what the next person in the circle would do, and so on.

Next, we did the 'hot seating' activity where each of us would become our characters and sit on a chair. Other people would then question you as your character asking personal details which you have to decide then and there about your character. This helps us gain a better understanding about our disposition.

Lastly, we were again  grouped and were given a random scenario. We used our new character information to apply this to the situation. Our invitation was that 'Jack's Mother' was going on an organised date from a dating agency. Myself, the Narrator was also the head worker for the agency. We created a short story line where Jack curiously follows his mum off into the village on a Saturday night, as she enters a building based around matchmaking. She then encounters her very awkward date.

Into the Woods - Ofsted Lesson 1

Today we created super-objectives for our characters. A super-objective is like an aim our characters have throughout the whole narrative. For example, Cinderella's Prince's long term goal is to 'get the girl'. As the narrator, my super-objective I think is to 'be heard'.

-----pic of narrator-to be heard--------

We then were grouped together and were given a sheet of paper, in which we had to draw a mind-map of a certain character from 'Into the Woods'. The mind-map had to show all the links this character had to other characters and events throughout the story. My group had to present 'The baker', which has many connections to do with most scenes. Afterwards, we created a short reenactment of the whole story line from our specific character's perspective. This was every scene/event that character was in. Because of all the different characters 'The baker' is in scenes with, it meant we had to be a series of the roles when changing scenes. This included myself being 'The Witch', 'Jack' and my original role the 'Narrator'. I enjoyed being other characters as I had to change my body language, and voice. We also used physical theatre such as becoming trees (to represent outdoors in the woods) especially when waiting or switching event.

Into the Woods - Overview

Into the Woods overview research using Pinterest clips

Classic fairy tales 'Into the Woods' draws from
Rapunzel

Image source: HD Wallpaper Season
http://hdwallpaperseason.com/logo-into-the-woods-2014.html
Accessed: November 11th 2014

Jack and the beanstalk
Cinderella
Little red riding hood

Key moral messages of the stories ie. What do they teach young children?
Be careful what you wish for - think carefully about decisions
Children listen/hang onto our every word

Main characters in the musical
Cinderella
The witch
Rapunzel
Jack
Little red riding hood
Wolf




My description of the different lighting, staging, props and costumes in the clips featuring different versions of 'Into the Woods'.

Clip 1:

Ground coated with dirt and tree bark  to represent forest floor

Layered backdrop with large trees that spread around re edges of the stage. Dark wood to support second level. - represents the enclosure of forests  

White spotlights to highlight certain characters in scenes, rest of stage dark to show night time/darkness did the woods

Set/scene never changes

Set and Props


Clip 2:

Projectored backdrop 

to change to different scenes eg clowds/woods/trees. Dim blue lighting, use of fog. 

Bright blue lighting 

Clip 3:

Tall and hanging ladders around the stage and leading up and off stage represent beanstalks jack climbs to where the giant lives

Foggy blue lighting 

Clip 4:

Large painted boards around the edges of stage featuring aspects from fairly tales, helps understand what well known characters are included. Large trees and tree trunk props subtly at the back in the gaps of the boards. Grey painted cyclorama represents night/darkness to come.

Clip 5:

Set outside on a stage, decorated/painted material of fairy tale themes and one of a door to show they are inside a building. Use of natural props such as trees, wind and birds tweeting to reinforce set scene. Plain white cardboard slot-together cow.

Costume and make-up

Fairy tale themed costumes;

The witch
Cinderella wears large sparkly white gown and tiara

Wears large sparkly white gown and tiara for Cinderella character

Jumpy and often rhymes. Some is Opera-style. Often fast and harmonises a lot

Singing Lesson 5

This week, we began practicing mostly group songs from out upcoming musical 'Into the Woods'. We started with one of the main songs 'Into the Woods'. We explored the vocal techniques specifically required in sections this song, as well as the whole musical.

• Range - Scales, arpeggios(notes in a chord are played/sung in sequence, one after the other rather than simultaneously)
•  Projection - Diction(emphasis on certain letters), pronunciation (shape of word), breath control
• Intonation - Pitch, tuning e.g "to see to sell to get..... to go to the festival!" - notes jumping up and down
•  Dynamics - loud, quiet, soft etc. e.g "THE WAY IS CLEAR....." - loud, hard, "something in the glade there" - soft, less volume - shoes change of mood/feeling
•   Articulation - how slurred (legato = words blend into each other) or punchy (staccato = words more seperated "to see to sell...."
•  Performance technique - facial expressions 

Singing Lesson 3 - Vocal anatomy & Warm Ups

Vocal anatomy

How the voice operates
The diaphragm contracts and releases when breathing in and out. This affects the lungs which expand as they fill up with oxygen. So, the lungs reduce in size as well as the diaphragm relaxing, when exhaling. 

When we breathe out, the air passes through the trachea and vocal chords, which is how we produce speech.

The sound we create can be determined by our certain vocal structures. Factors such as the position of our tongue or larynx, the cheeks, tongue teeth and lips all affect the way our vocal sound is changed. These are the articulators, as they influence the way words can be pronounced etc.. The sinus, chest, laryngeal and pharyngeal cavities act as 'resonating chambers' for the voice.

Voices can be trained by consistently using certain excersises that build up the power in the larynx and diaphragm. The ability to control the muscles in both the diaphragm and vocal area can  strongly act upon vocal projection and tone.

Image source: Openstax Cnx http://cnx.org/contents/df9f91d1-b8aa-45f9-9d13-50913bf95614@7/Systems_of_Gas_Exchange

Accessed: 1st November


Vocal Folds

Vocal chords/vocal folds, have a ligament-like structure that is soft and flexible. These attach to the thyroid cartilage and crycoid cartilage. This is where the folds can move together and apart. This allows us to pass air through and breathe, and to create the vibrations needed for sound. 

Image source : The Singing Voice http://thesingingvoice.com/about/vocal-anatomy

Accessed: 1st November

Larynx

This organ is inside the neck, in which the layers of muscle, cartilage and bone surround it. One of its main functions is producing sound, which works by air travelling from the lungs through the larynx and over the vocal chords, causing vibrations which finally emit sound. 



Vocal Warm-ups

There are many interesting warm ups that can help prepare your voice for further activity. Here are a few I found particularly helpful:

• In the beginning of some lessons with Kim and in earlier lessons with Lena, we did a warm-up which especially helped our pronunciation of words when singing. We need to sing clearly seeing because we're supposedly helping to narrate the production as the lyrics explain the mood and what's happening in that moment. e.g "Into the Woods to get my wish..." - this highlights the characters first venture into the wilderness to each achieve their desire. The warm-up involved us singing all 5 vowels one after the other, but with a different consonant in front after each set, e.g "Te Ta Ti To Tu"

• Another warm-up includes lip trills, involving letting out a long held "brrbrrbrr" type sound, causing the lips to vibrate. Be sure to not tighten your lips and let them naturally sit in a closed position, and to take a deep breath and slowly let the air out. This is a helpful exercise as it relaxes our lips to allow air/sound to easily pass through. Our diaphragm muscles are also loosened up as well as the muscles around, which assists our breath control as you need to gently let out air to produce the trills.

• Massaging below your cheekbones in a clockwise rotation can relax the jaw bone, making it easier to sing louder as you'd be widening your mouth more.

• A warm up I discovered on a site was very intriguing as it really improved my scale range. It involves slowly breathing in from your diaphragm whilst slightly tightening your airways. This causes you to make a croaky-like sound as you inhale. You release your breath. You can improve this by creating the croaky-like sound, but when you exhale. You then gently travel up and down with your voice going high and low, or you can even do this along with a piano scaling up/down. I found this really helped warm up my vocal chords and found it much easier to reach more difficult keys, high and low.

References

Thesingingvoice.com -The Singing Voice

http://www.innerbody.com/anatomy/respiratory/head-neck/larynx - Inner Body

Singing Lesson 4

This week we put our techniques previously learnt into practice by singing familiar but slightly tongue-twisting songs. Once we understood the way to say the lines and pitch etc., we were separated, into 3 groups where each of our groups were given a certain section of the song to sing. When performing, we started joined in at different times. I think this sort of related to the teen 'canon', as we ended up following on to each group's previous section. This ended up producing a fluid and an effective blend of all voices, as our groups crossed over but stayed in sync at the same time. This was helpful as it taught us on how we need to project more so you can hear all parts, as well as concentrating and keeping in the time and not being put off (distracted) by others singing different parts.

We also focused on how to perform certain kinds of songs. John Legends' 'All of me' includes a high, long-held head voice within the chorus which we practiced. I need to improve and strengthen my head voice as I am move comfort when singing from my diaphragm.

Singing Lesson 2

In today's lesson, 'Don't Stop Believing' was used to practice singing to, which we firstly sang as a whole group but then split in half, to which we both were singing to each other and seeing who could project the most. 

I am hoping to improve my vocal range as I am more of a lower singer. I also want to improve how to switch to head voice without breaking, as I am much comfortable with singing higher in chest voice than head.I found the breathing techniques very useful and often quite easy to hold notes for a long amount of time.

Singing key terms

Intervals on a scale

Intonation

Breathing techniques 

Technique = application of methods and skills for singing 

Some key skills to improve our singing and projection is to:

• Have good posture
• Breathe during natural pauses 
• Keep your knees loose
• Keep your head up
• Keep shoulders sloping and relaxed 

Singing Lesson 1

Today we discussed why it's important and helpful to strengthen and improve your singing skills      which gives you versatility and confidence, helpful in later opportunities in the future. 

We then practiced some of the techniques with the piano to loosen up our vocals and teach us useful ways to gradually improving vocal range, intonation, intervals on the scale and projection.

Dance Lesson 2

Today we developed our dance by adding on our own small phrase before the main motif, where we performed on duos and trios as well as altogether, interacting and using each other to link movement. We also developed it by using different formations, unison and accumulative canon, and repetition.

We then performed our new versions of the original phrase to the rest of the class and were given feedback individually on our strengths and also how we can improve.

My strengths were that my musicality and overall dynamics were good, however I

need to give more exaggeration and energy in my performance, as well as improving my characterisation to reflect the theme of the dance.

Rehearsals - Final version of first part of DV8 dance piece

Dance Lesson 3

Today we recapped our phrases for the 'Into the Woods' song section. We then created a mind map for a certain dance scene within the whole musical, our group focusing on the Witch and Rapunzel scene. Between us we discussed what dynamics, actions and even props could be used to suit the mood/atmosphere of the scene. We used this to prepare for when we start to construct a dance for each of the scenes.

For black history month, our group is performing a monologue as well as a dance piece. Our dance reflects the emotions of the african-americans who were subject to racism, torture, slave labour etc. This can help with my need for improving my characterisation as i have to portray the discriminated minority.

Rough rehearsal of BHM Dance piece

As we have to maintain a strong persona for this performance, these skills will help contribute to our musical production. As we may be dancing and singing especially, we need to learn how to not lose focus of our characters and feed it into our movement, such as our use of body language whilst dancing.

BHM 6 - Evaluation of Performance

BTEC MUSICAL THEATRE 2014-15

EVALUATION OF PERFORMANCE

BLACK HISTORY MONTH

PLANNING

Comment on the following –

the number ofREHEARSALS and how effective your target-setting was	effectiveness We managed to finish what we planned and developed to do in the number of rehearsals	how you would improve for NEXT TIME Increase rehearsals in order to develop what we're doing Focus more in rehearsals
your STAGINGincluding movement around stage	effectiveness We used a variety of the staging space and a circular formation in the centre stage, and the use of downstage right. This was effective as it wasn't just in one place so it didn't get	how you would improve for NEXT TIME We could of involved props which would enhance our performance and further add to our theme of slavery and the need for freedom e.g. podium for MLK
your LIGHTING	effectiveness We used two different lightings(spotlight and white wash) This was effective as it changed the mood/scene of the act, as well as representation of the characters (Martin Luther King, African slaves)	how you would improve for NEXT TIME We could of used stronger lighting to contrast the scenes/sections eg. Red lighting to show pain/torture
your SOUNDincluding your technical use of mics/instruments etc.	effectiveness We used one song for the dance piece and the end of the speech section - track song The song was effective as it is about the slavery in the 1930s so fits in with the concept. We also used music visualisation	how you would improve for NEXT TIME We could of edited/added different music to make it more interesting, such as when we were originally going to have mini breaks in the song throughout the performance whenever Ashley spoke.

PERFORMANCE SKILLS

MOVEMENT and VOCAL DELIVERY	effectiveness Our movement was clear and strong, which defined the meaning of the dance. Our vocal delivery was loud and well projected, even with the use of the microphone. He used a powerful deep tone in his voice, as well has good diction in order to get the message across the the audience	how you would improve for NEXT TIME Our movement could of been more exaggerated as well as  the vocal delivery, which could have had more rests to  reflect MLK's passionate speech
EXPRESSIVENESS (facial and physical)	effectiveness We portrayed strong expression through our movement when dancing, especially in certain gestures such as reaching upwards (shows calling for help) links to the narrative.	how you would improve for NEXT TIME We need to show stronger facial expressions to represent characterisation, not just through our actual movement and dynamics. This would contribute well to the whole act
COMMUNICATION TO THE AUDIENCE and how your performance was received	effectiveness We engaged the audience to our act mostly because of Ashley's introduction, as he spoke to the audience rather than 'at' them.	how you would improve for NEXT TIME Relating to facial expressions, our dance could have also engaged the audience more by stronger facial expressions, which reflects towards the crowd at times.
CONSISTENCY OF COMMUNICATION (how well you maintained your chosen persona)	effectiveness Ashley maintained his persona as he held strong facial expressions and used his techniques to voice a great performance.	how you would improve for NEXT TIME To improve next time, we could have held our personas stronger as an accident ended up in some of us losing grip of our characters

BHM 5

Costume Idea

We decided the costume of baggy black tops and faded checkered shirts with leggings. This loose style clothing represents the non-fitting wear slaves were given when in hard labour. We may also use dark makeup smeared on our faces to show the grubby conditions they had to work in. We will also be in bare feet which is also representative of the theme.

Official lighting plan

Our BHM Rehearsal schedule

BHM 4

Lighting ideas
                                                                                          

Begins with white spotlight only on Ashley - rest of stage in darkness

After saying 'I have a dream', spotlight fades and red/white wash light opens stage to reveal dancers and to start 'Strange Fruit' - Ashley is now faded out in darkness to take away focus while not saying speech (Every time he continues speech, spotlight will appear over him).

Update rehearsal on dance piece (more movement added/changed)

Update on MLK Speech

Ashley has decided upon a section of the speech to perform:

I have a dream that one day this nation will rise up and live out the true meaning of its creed: "We hold these truths to be self-evident, that all men are created equal."

one day right there in Alabama little black boys and black girls will be able to join hands with little white boys and white girls as sisters and brothers.

I have a dream that one day on the red hills of Georgia, the sons of former slaves and the sons of former slave owners will be able to sit down together at the table of brotherhood.

    Free at last! Free at last!

                Thank God Almighty, we are free at last!³

BHM 3

06.10.14

We have decided to perform just a group dance to 'Strange Fruit' rather than an arrangement also. We too have ruled out performing an african movement section. This is due to the fact that we already have a contrast of two emotions and atmospheres between MLK's heartwarming and positive speech, and Billie Holiday's moving but tragic/dark song 'Strange Fruit', in which we will now dance over.

Formations so far:

Formation 1
1. Ashley says 'I have a dream'
2. Music starts, dancers roll outwards to specific directions

Formation 2
1. Dancing to 'Strange Fruit'
2. Random pauses of music(or very low and faded) & dance
3. Ashley continues to read MLK speech - dancers perform gestures & lyrical movement to correlate with speech words

Formation 3
1. Ashley finished 1st part of speech, music & dance continues/fades in
2. Solos & duos are introduced

BHM 2

29.9.14
Development upon chosen idea

We have chosen our first dance idea surrounding Martin Luther King. We have also decided to perform and arrangement of the song 'Strange Fruit' by Billie Holiday, first performed in 1939. This song symbolises how the Africa-american slaves were mistreated, tortured, even killed. We will include solos and maybe duets to enhance it. This will be performed at the beginning of the section, before we begin our dance piece.

Southern trees bear strange fruit,

Blood on the leaves and blood at the root,

Black bodies swinging in the southern breeze,

Strange fruit hanging from the poplar trees.

Pastoral scene of the gallant south,

The bulging eyes and the twisted mouth,

Scent of magnolias, sweet and fresh,

Then the sudden smell of burning flesh.

Here is fruit for the crows to pluck,

For the rain to gather, for the wind to suck,

For the sun to rot, for the trees to drop,

Here is a strange and bitter crop.

BHM 1

22.9.14

We watched and analysed clips that refer to black history, to help us gain an idea on what to perform for the variety performance. Myself and five others will be performing together.

Dance ideas

Martin Luther King
At the beginning Ashley (As Martin Luther King) says 'I have a dream', in which the music then begins . The rest of us are surrounding him on a podium style stand, and we break away from him once he says 'I have a dream'.
This slow emotional dance and music will then switch to a lively celebratory atmosphere as Ashley finishes the section of the speech, which relates to when King was massively applauded by the thousands of listeners within the crowd.
~link to MLK whole speech~ http://www.americanrhetoric.com/speeches/mlkihaveadream.htm

Our movement in the dancing will also at times highlight key parts in the MLK speech, lyrically synchronising with certain sentences/phrases to visually represent his words as well as acoustically.
Our dancing will involve contemporary and Traditional African movement to contribute towards the moods of the sections. Ashley(MLK) reads the chosen section of the speech as we perform to show the emotion in the speech, which then switches to a celebratory atmosphere as Ashley finishes the section, in which we all change our contemporary style to traditional African (this section represents when MLK is loudly applauded by the thousands that supported him). The music would be edited to fit the piece, and designed props would be used.

Nelson Mandela
Brief: we would celebrate the life of Nelson Mandela a, representing a quick timescale of his dramatic life, from when he was sentenced to life imprisonment, to when he was granted his freedom 27 years later. Ashley (Nelson Mandela) could begin enclosed in either a jail cell symbolising his captivity and isolation or him working(digging/sledgehammer-ing) to symbolise the hard slave labour he may have faced. We could then have a dance of protest to free Mandela, which also highlights the ongoing segregation that went on. Finally on his release, we can then perform s celebration piece, whether it's a short composition or another dance piece. The chosen music would be edited to fit the whole piece, and designed props would be used.
~Dance example to help create dance/protest~

Dance lesson 1

Today we explored ways to improve our dance performance, both technically and expressively.

Technical skills in dance
Posture =
Alignment = limbs/body parts position in relation to the whole
Focus = where your eyeline is facing
Strength = amount of force produced in one effort
Flexibility = range of movement in joints
Coordination = moving arms and legs simultaneously
Mobility =
Extension =   the action of extending : state of being extended
Stamina = great physical or mental strength that allows you to continue doing something for a long time

Expressive skills in dance
Focus = your concentration
Projection = Performing out, engaging the audience
Musicality =
Timing = Keeping in time/cue of the music
Sense of style
Characterisation = Your emotion, facial/body expression that reflects your character

We also explored the meaning of physical theatre, which is any type of performance that shows a story or drama, through mainly physical but partly mental means.


We then observed and analysed the video 'Enter Achilles' by DV8, to understand the concept/meaning. We focused on the location, characterisation and props used(which gave a strong stereotypical sense to it), and the ways the dancers interacted and used contact to change their positions and change sections.To further grasp the choreographic intent, we got into separated groups and Kat taught us a short, similar phrase reflecting some of what we saw in 'Enter Achilles'. To help get into character, we used plastic glasses to dance with.

Rough version of 1st part of DV8 dance piece