Chorus #6: BACCHUS

For 'Bacchus' chorus, me and Emily were in charge of choreographing possible movement for it.
We decided to use quad jumps as our main movement. This involved 3 lines of the chorus people, and jumping in unison but changing direction after a certain count. We originally were going to say our lines whilst jumping but it didn't sound clear enough as we were jumping and rotating too. So, we chose to perform the jumps and then be stationary for our lines. We paired the lines so each new pair would go to a different line in the formation (numbering the pairs to it's line of people). this was effective as it was randomised and jumped back to back, bouncing off each line of people.

For the last verse, we decided to drop down, raise slowly off the ground and increase our volume as it shows our sense of panic reach extreme new heights. We also added hand gestures of us rubbing them together on the line "purify us purify us" in relation to cleansing their souls. For the last "Dionysus", we point to above to the corner, making it apparent and distinct that we were directing our pleas to the "God of many names".

I think we could add in more gestures for next time, especially when we are waiting for the others to say their lines.

UPDATE

This choreography for Bacchus was changed, as we found the quad jumps weren't that effective and didn't fit as well as we thought, and we needed more movement around the space with more gestures, to really display the desperation of our current state which will make it easier for the audience to understand.

We included movement such as 2 rotating circles inside each other, running to the trenches and in a chaotic dynamic, perform different gestures as we shout out the last repetitive lines. This made the whole scene look much more interesting and the emotions were much more obvious.

The new choreography is bold in portraying the chorus for who they are; powerless civilians, whose opinions don't go far in the city of Thebes, yet. The begging and pleading which is the highlight of this chorus shows how they are frantic, desperate and in seek of safety.

Background info on 2 classical theatre plays

Dr Faustus

Dr Faustus is about a German Scholar, who wasn't satisfied with the limited traditional forms of knowledge in logic, medicine, laws and religion. He wanted to learn magic, so starts practice into the dark arts in which Mephastophillis appears. Faustus proposes he sells his soul to Mephastophillis' master Lucifer in exchange for 24 years of service from the devil. He is given a book of spells to earn and rich gifts, however always wonders if he should save his soul after experiencing misgivings.
, in which Mephastophillis the devil proposes he sells his soul to Lucifer for Metamorphis to be his servant for 24 years. At the end of the 24 years, Faustus wishes he could save his soul, however it is too late, and he is carried off by a devil.

http://four-of-swords.com/wp-content/uploads/2013/02/faustus-pkj-after-matt-austin-small.jpg

Antigone
Antigone is about a young woman who torn between public duty and private duty. Her 2 brothers were killed in battle, one was buried but the other was ordered to be left unburied by King Creon. Antigone rebels against the rule and burys her brother Polyneices. She is caught by the guards and is taken to imprisonment. Creon  is told by Teiresias  that is refusal to bury Polyneices and choice to punish Antigone will bring curses of the Gods down to Thebes. However Creon ignores this.  Already knowing her fate is death, Antigone hangs herself, and shortly after, Haemon (Creon's son) kills himself and Eurydice (Creon's wife) kills herself.

https://sites.google.com/site/englishmsedelstein/home/english-ii-honors/antigone

Audition for Antigone

Audition preparation

Before my audition, I prepared a short extract from the play 'Medea' to perform. In my research of Medea, the ancient Greek tragedy is based on the former princess of the kingdom of Colchis and wife of Jason, 'Medea'. Her position is threatened as her husband deserts her for a Greek princess of Corinth. She proceeds to take vengeance by killing Jason's wife along with her own 2 children. She killed her own children not because she did not love them, but she felt it was the best way to hurt her betrayer.

The extract was of the nurse in Medea. The nurse is a servant to her and her children, and as an outside commentator on the events of the story she expresses her concern for the safety of the children and the others who have done wrong by Medea, foreshadowing further happenings. Though her loyalty lies with her, she cannot help but see the doom that lies ahead. I chose this extract of Medea because I felt it was a challenge to my normal type of roles. This character shows powerful emotion and a different type of role I normally play. This will give me a chance to improve my different expressions in different characters. When practising my lines, I highlighted key sentences/words that i could change the tone/emphasis/speed on in order to reflect the distress and fear this character feels, as she voices her worries of Medea's plans.

I find it easiest to practice my lines by simply reading through it over and over again. Once I've memorised the words, I then apply the context into the monologue to give it it's meaning and help me to adjust my body language and speech.

In addition, I investigated the Greek play that I would be playing a role in, 'Antigone'. (click here)

Audition evaluation

After my audition I felt quite disappointed with my performance as I stumbled a lot on my lines on lot the pace etc. of my speech. I think I could have revised my lines more in advance to the audition, as I was still struggling the remember the lines. i also think it is partly the type of play. I'm not that familiar with performing Shakespearean/Greek etc. plays and have always found them more difficult to analyse. This is due to the difference in the style of language as these plays were written way before our time.

In the interview section I explained how I was interested in possibly playing 'Ismene', the sister of Antigone who although agrees with her sibling's anger and frustration that one of their brothers' bodies ordered by King Creon was to be left without a burial, and that anyone who went against this would be punished. However she fears the worst for her sister's plans of actions (going forth with burying Polyneices) and how her rebellion may have serious consequences. She is caught between wanting to stand by Antigone, and obeying the powerful orders of Creon to avoid penalization.

What I've learned from this audition experience is that I need to spend more time fully understanding my monologue longer in advance, as this I feel lets me down the most.

Refugees and family photo

In todays lesson we looked at a video of refugees who had started a small gymnastics group in their refugee camp. It was fascinating to see how much skill some of them had as they performed multiple tricks, which somehow separated them from their serious situation. It distracts from their misfortune.

We then practiced states of tension in the space where we would act as a refugee who is attempting to find someone they know in the camp. My states raised to where my
character was surprised and relieved to find someone they know, giving them the encouragement to carry on searching. The use of this was because our choruses were to partly represent the 'refugees' in Antigone, so developing our body language, vocals and movement will help us to apply it to the scenes in the play.

Next, we grouped up to create a freeze frame 'family photo', to depict a wealthy, snobby household. 

family photo

Here is an example of another group's photo I took.

This could be a reflection on the Royal family in 'Antigone', in which the ruler, Creon's harsh orders and actions show how power and large wealth can influence your attitude to others below you (In terms of the Royal family, they are above the poorer civillians of Thebes.

Units 1 & 5 Feedback - Rent

SUMMATIVE ASSESSMENT RECORD SHEET
Programme	BTEC Level 3 Diploma in Performing Arts (Musical Theatre)			Learner Name	Amber Cameron		Assessor Name	Rachel Maddix
Unit No. & Title	Unit 1: Performance Workshop			Target Learning Aims	1 Be able to interpret ideas for performance material 2 Be able to apply ideas creatively 3 Be able to take part in workshop performances 4 Understand the workshop process in light of performance.		Assignment No. & Title	Rent
Issue Date	22/10/15			Interim Submission Date	05/02/16		Final Sub Date
Target criteria	Criteria Achieved Yes/No	Final Assessment Comments
P1	Y	You showed a response to source material through research and practical workshops, recognising obvious possibilities as performance material
M1	Y	You showed considered responses to source material, exploring its more creative possibilities as performance material with insight and attention to detail
D1	Y	You showed a range of detailed responses to source material, in which the possibilities as performance material were explored in a perceptive and comprehensive manner
P2	Y	You developed and shaped workable ideas
M2	Y	You develop and shaped the most workable ideas
D2	Y	You developed and shaped the most creative ideas
P3	Y	You performed with a level of skill appropriate to the chosen medium showing engagement with the material and communicating ideas to an audience
M3	Y	You performed with a level of skill that showed a degree of control in the handling of the chosen medium, degree of engagement with the material, communicating ideas to an audience in a focused manner
D3	Y	You performed with a sense of flair, confidence and assured control of the chosen medium, showing consistent focus and engagement with the material and clear and responsive communication to an audience
P4	Y	You were able to evaluate the potential of the work in artistic, professional and vocational terms with recognition of the strengths and weaknesses of the work.
M4	Y	You were able to evaluate the potential of the work in artistic, professional and vocational terms, with considered judgements about what worked well and/or less well.
D4	Y	You were able to evaluate the potential of the work in artistic, professional and vocational terms with strengths and weaknesses clearly identified and judgements fully justified and thoughtfully expressed.
Summative comments
Analysis of of development. D1 You explored source material in a more detailed and insightful manner, showing that you considered a number of possibilities and were not afraid of rejecting ideas. You were able to explain the thought processes behind your choices in a thorough manner. Rehearsal D2 You demonstrated a more creative and perceptive way of working. You were able to identify constraints and able to suggest alternatives, working through problems to find workable solutions. Performance work D3 You were able to show control in the handling of performance skills. You demonstrated a higher degree of commitment to the performance and your performance work was confident and focused. Ideas for further development D4 You were able to weigh up the potential of the work and make judgements about the feasibility of further development. Your comments were fully supported by well-chosen examples from the work. You underplay your talents, but as soon as you were given a chance you thoroughly embraced the challenges that came with the role of Joanne and fully realised a strong performance and increasingly effective well rounded characterisation. Your vocal performance took on new levels of skill that we had not had the opportunity to see from you in other shows. You showed versatility and responsibility at every stage, producing  skilled & engaging final performances  - well done Amber.
Resubmission authorisation*
* All resubmissions must be authorised. Only 1 resubmission is possible per assignment.
Assessor Signature			R.Maddix			Date:	19/2/16
Learner comments
Learner Signature						Date:

SUMMATIVE ASSESSMENT RECORD SHEET
Programme	BTEC Level 3 Diploma in Performing Arts (Musical Theatre)			Learner Name	AMBER CAMERON		Assessor Name	Rachel Maddix
Unit No. & Title	Unit 5: Rehearsing for Performance			Target Learning Aims	1 Be able to contribute to the rehearsal process 2 Be able to select and apply appropriate rehearsal and performance skills 3 Be able to progress rehearsal and performance skills/techniques in response to feedback and evaluation.		Assignment No. & Title	Rent
Issue Date	22/10/15			Interim Submission Date	05/02/16		Final Sub Date
Target criteria	Criteria Achieved Yes/No	Final Assessment Comments
P1	Y	You identified key rehearsal tasks appropriate to your roles
M1	Y	You described and prioritised key rehearsal tasks appropriate to your roles
D1	Y	You explained and prioritised key rehearsal tasks, with insight, foresight and confidence
P2	Y	You completed designated rehearsal tasks, so that a valid contribution was made to the rehearsal process
M2	Y	You completed designated rehearsal tasks, so that a valid contribution was made to the rehearsal process
D2	Y	You completed designated rehearsal tasks with considerable attention to detail, so that an outstanding contribution was made to the rehearsal process
P3	Y	You developed and applied research for your roles
M3	Y	You developed and applied research for your roles, employing findings constructively and progressively during the rehearsal process
D3	Y	You developed and applied research for your roles, employing findings in a constructive, progressive and imaginative way during the rehearsal process
P4	Y	You selected and use rehearsal and performance skills appropriate to the role
M4	Y	You selected and employed rehearsal and performance skills appropriate to the role, in an effective, controlled and considered way
D4	Y	You selected and employed rehearsal and performance skills appropriate to the role, demonstrating strong command and insight
P5	Y	You developed and improved rehearsal and performance skills in response to feedback.
M5	Y	You demonstrated commitment to the development and improvement of rehearsal and performance skills with positive and constructive responses to feedback.
D5	Y	You demonstrated outstanding commitment to the development and improvement of rehearsal and performance skills, with detailed responses to feedback.
Summative comments
Planning D1 You were able to describe the key rehearsal tasks. You have also shown the ability to prioritise and organise tasks according to their importance within the development of the overall production, interdependencies with other members of the ensemble, etc. You also provided an explanation of the rehearsal tasks, elaborating to suggest how and why their approach to the tasks contributed to the overall success of the production, showing a thorough and sophisticated understanding of the tasks and processes. Completion D2 You were able to show extensive attention to detail in completion of the majority of your designated tasks, thus making a very obvious and excellent contribution. Research D3 You were able to demonstrate a strong awareness of how you could apply research findings which were highly relevant to the role/production. There was clear progression of performance skills and you were able to articulate this with clear reference to specific research findings, both in physical rehearsal activities, as well as in discussion and supported with notes and analysis in their rehearsal log. You showed imagination in your use and application of research, and may therefore employ less obvious forms of research or research findings, and/or provide additional insight or fresh and unusual interpretations for the performance. Application D4 You were able to employ the appropriate skills and techniques selected with confidence and proficiency. You demonstrated some insight through your ability to recognise facets of your role and the demands of the performance in their use of skills and techniques. Development D5 You showed dedication and determination in your desire to perform to the highest possible standard, taking feedback and criticism as a cue for further and detailed exploration and progression of role.
Resubmission authorisation*
* All resubmissions must be authorised. Only 1 resubmission is possible per assignment.
Assessor Signature			R.Maddix			Date:	19/2/16