Grease Dance with Emily and Kat 23rd January

Today we began by structuring our 3 dances we made for Grease together. We did this by creating transitions between each motif. We also experimented which positioning for some of the songs, such all of us girls located at the back on each side, with the boys in front. We then discussed on 2-3 repetitive actions we would perform during the intro up until everyone in unison begins the first routine.

For next lesson, my target is to continue working on my body expression of the theme and the upbeat funky mood of the dance.

Lesson Analysis 3rd February

In today's lesson we focused on analysing the parts Britney scene, which involves my character, Ticket, along with Britney, Laughter, Biffer, Inhibitions and Argument. We all discuss about the link from the Goat scene to the Britney scene and it's relation to normal behaviour in reality. In real life, if a person is stressed/emotional etc., they may resort to comfort eating which temporarily but instantly relaxes/calms them. This is seen in the structure of WWOD, as the Goat scene potrays brutal and nerve-wracking situations, which is then followed by the Britney scene which evolves around stacks and stacks of hotdogs. We then explored each individual character, deciding on their dispositions, state of tension, possible relations to other characters (In Act 2), and reasons why they are that way.

Then, using our scripts we decided upon certain sections in this scene on where there would be a contrasting change of mood. For example, when Lisa is currently irritated due to the pestering violinist,who continuously plays on despite her begging them to stop, and the other bewildering characters who she increasingly can't understand, when Inhibitions suddenly appears to have no pants on, the mood instantly uplifts as everyone bursts into laughter.

In this unit, it shows how Laughter and Ticket reveal themselves to be Mungarees, which causes a wave of disturbance through the others (mood change). I believe that what my character 'Ticket' wanted out of this section, was to be recognised as their actual self, someone with power and control over the rest alongside their companion Laughter, another mungaree.

Lesson Analysis 10th February

In this lesson we started out by deciding on how to lay out the seating for our Act Two performance, where the audience will be moved from the normal row seating to surrounding the stage. As seen in the photo below, we have built a variety of levels for the seats which helps to reflect the psychological instability in this Act, which is set in a hospital ward for mentally ill patients, like Lisa with Dissociative disorder etc. We also chose a harsh basic white lighting, highlighting the exposure of the patients' state and the bring-back to reality, which strongly deviates from the happy, stimulating colours in Act One. The whole physical setting intends to give discomfort to the audience so they don't feel welcome or at ease, reinforcing the atmosphere of Act Two.

Photo taken by myself

Lesson Analysis 24th feb Blocking Goat Scene

For the start of this lesson, we did a series of warm ups before blocking our next scene. Firstly, we walked around the space and switched between the different general states of tension. We then switched to the state of tension for one of our characters. Being Jane, I used a level of 5. because although she is a positive and enthusiastic person, she is also in a rush to get her duty over and done with (the beatings from the goat). For one, because it is obviously an unpleasant situation to have to partake in, and she also has a tight schedule she must adhere to, as she refers to being 'due to be carjacked at six'.

We then began blocking the Goat scene. This involves my character Jane, and Lisa and the Goat. I was comfortable with remembering my lines but I wasn't too sure on the way Jane would say it. Rachel told me to alter my voice much more from my own in order to create a distinct persona. I did this by heightening the pitch and elongating my sentences, with the same attitude as an air hostess. I also took into perspective a time when I went to a beauty salon/spa, and the way many of the staff spoke was very high and fancy-like, which is used to show off the calm and relaxing atmosphere of the place, and put the customer at ease. like you know it's all just apart of their role. Although Lisa isn't affected by this sweet-sounding tone of voice and becomes shocked and uneasy at her stating the details of abuse she was covering for her, she persists with her smooth settling voice. I also needed to think back to when we stylised the pedestrian movement of our characters, to where I can combine my lines with the certain movements when appropriate. As this was quite a touchy subject (the beating and rape) I needed to dismiss this through Jane's character this as if it was completely acceptable and not a serious nor shocking occurrence. I need to work on my confidence to help form and become the entire character, separating the ordinary way tor react to this to the 'Dissocia' way. Maybe even Jane initially thought the usual way too, but as abuse became her standard routine she is numbed from the pain and the reality of her suffering.

Singing Evaluation for 6th February

For my performance, I chose to wear unmatching, dull pyjama-like clothes in order to fit my character (Orphan), with my hair also in pigtails to show the innocence and young age of the girl. My performance I feel could have gone better because I grew very nervous when I began. I wasn't very comfortable with my clip on microphone as I am used to performing songs with a mic stand, however I needed to this to be able to move around the space to represent movement in the style of the orphan child. I feel I could've used stronger facial expressions and stylised movement to increase my characterisation. My intonation was good but I could of had better breath control to hold notes longer, and projected more as I felt I wasn't loud enough and engaging with the audience.

Overall I feel I could have rehearsed more and practiced in the theatre with the microphone, and my target is to build my confidence so that I can deliver a strong, all round performance.

Singing with Kim 23rd January

In this lesson, I decided with Kim to perform the song  'Castle on a Cloud', but edited in a lower key to fit my range better as it is slightly higher than I can reach. I rehearsed quickly to check I was comfortable with the song, and I now have to rehearse through the next couple of weeks in preparation for my solo performance on the 6th February.

Section 1 & 2

Popular types of acts in variety performance in the 19th century:

Opera

Pantomime

Mime

Marionette (Puppets)

Acrobatics

Circus acts

Romantic Ballet

Music Hall acts:

• Aerial acts - linked to circus acts
• Adagio - blend of dance and juggling; involved male dancer throwing female around
• Magic & Escapologists
• Cycling acts - links to circus acts - solo/troupe of trick cyclists
• Ventriloquists 
• Electric acts - use of static electricity to do tricks (lighting gas jets, setting fire to handkerchiefs with bare hands)
• Drag artists - Females impersonating Men/Men impersonating females
• Knife throwing & sword swallowing
• Juggling & plate spinning - also Diablo acts 
• Feat of strength - Involved both women and men
• Fire, razor blades, goldfish etc. eaters
• Wrestling & jujitsu - this made a basis for modern professional wrestling
• Mentalism - female assistant picks items from crowd, and male mentalist 'mind reads' what the items are
• Mime artists & impressionists
• Trampoline acts
• Animal acts - talking dogs, flea circuses, animal tricks
• Stilt walkers 
• Puppet acts(Marionettes)
• Comic pianists
• Shadow puppet acts
• Cowboy/wild west acts

The Oxford Music Hall - 1873                                   Canterbury Music Hall - 1856

Image source : http://en.wikipedia.org/wiki/Canterbury_Music_Hall

Image source : http://en.wikipedia.org/wiki/Oxford_Music_Hall

From the 1850s to 1960,  music halls were very favoured in showbiz entertainment in UK. These venues offered a variety of popular songs, comedy, speciality acts and other entertainment. Well-known music hall include the 'Oxford Music Hall' which began in 1873, and Canterbury Music Hall. The Canterbury Music hall was one of the first, opening in 1853. The venue held a maximum of 700 people and the number of people wanting to attend grew, meaning a development of the size of the hall needed to be updated. Popular actor and singer Sam Cowell, was swept up from Evan's Supper Rooms and popularity increased. Music halls replaced saloon bars surrounding communal houses, as the years progressed in the 1830s. Employment increased in the 1900s as the constant demand for brand new common songs meant enrolling skilled songwriters. Gradually, a wide variety of acts were established and performed such as trampoline acts and comic pianists. Some music halls began removing tables due to too much socialisation with other guests, taking focus away from the acts being performed, which gradually became the norm in later years.


In the 1830s-1840s, song and supper rooms were established where customers were able to enjoy entertainment whilst being served hot food available for the whole night even till the break of dawn. ' Evan's Supper & Song Rooms' was very popular which was located in Covent Garden. Singers were of course paid which included a free beverage. A performer called 'Samuel Houghton Cowell' appeared in many song and supper rooms including Evans', whose act was comical singing and acting.

Image source : http://www.arthurlloyd.co.uk/evans.htm

Image source : http://www.arthurlloyd.co.uk/evans.htm

Image source : www.ukscreenassociation.co.uk

American vaudeville was most popular in the 1880s all the way up to the 1930s, and was quickly a very popular entertainment for a middle class audience. Variety theatre was around before the 1830s

Performances such as acrobatics, singing, dance presentations, comedy and Shakespeare were available all in one night, in the nineteenth century's first decades. Years on from this, more of a variety of entertainment increased. A diverse amusement was Dime Museums, where there would be quite odd exhibits, real and fake. This was similar in the 1800s and 1900s when travelling sideshows did this (Carnival show of freaks = people with mostly bizarre genetic mutations e.g multiple legs/arms). Other amusements such as riverboats and amusement parks also appealed to the lower-class.

For the more risqué, thrill seekers, saloons, music-halls, burlesque houses would cater to them.

Clips featuring variety performance acts

The River Dance at the Royal Variety Performance show in 1994

Video link https://www.youtube.com/watch?v=yJP_n4mbEPE

Actor Jerry Lewis performing a pantomime performance for 'The Errand Boy'

Video link https://www.youtube.com/watch?v=Q4v8UdkTx30

Punch & Judy Puppet show in 1940s

Video link https://www.youtube.com/watch?v=syJC7S3_4yg

Acrobatic performances in the 1900s

Video link https://www.youtube.com/watch?v=aroavwvI8Y8

Anna Pavlova, well-known dancer in Romantic Ballet in 1920s

Video link https://www.youtube.com/watch?v=8bRwb5DGekg

Circus acts in 1942

Video link https://www.youtube.com/watch?v=EiJ02o6Tkdc

Variety performers:

Harry Houdini - Magician & escapologist

'Seven Musical Savonas' - Cycling band

Vesta Tilley - Drag artist

Danny La Rue - Impressionist & Drag artist

Victorina Troupe - Sword swallower

John Orlando Parry - Comic pianist

George Grossmith - Comic pianist

Marie Lloyd - Singer

Dan Leno - Singer

Little Tich - Singer

Arthur Askey - Comedian & actor

Fred Barnes - Singer

Bessie Bellwood - Singer

Herbert Campbell - Comedian & actor

Kate Carney - Singer & Comedian

Harry Champion - Singer & comedian

Charlie Chaplin - actor & comedian

Sydney Chaplin - Actor

Albert Chevalier - Comedian & actor

Links:

http://en.wikipedia.org/wiki/Music_hall