directions, ideas and the process

David Palmers- addicted to love
As a group we listened to this song it relates to the play because of the lyrics, while Palmer is addicted to love the girls are addicted to the feeling of talking about the photos and the how society characterises people. 'they can't sleep or eat' 'they like t think that their immune to it' the songs lyrics can easily be translated to fit the issues addressed in the play.

Actioning

Actioning Lesson


Actioning is the objective behind the line and the story behind the scene.


example we looked at

Although this activity if used for a whole script would take a long time to do it is actually a very useful way of creating character and building up a background of a character or a scene. It was really useful to see the scene acted out at each step and be able to see the development between Imogen and Rosalind reading out the neutral text to the finished product of Honor and Colm's scene where a whole story both told to the audience and behind the lines was conveyed making what had been a neutral written text into a performed and alive scene.

I tried this technique out on a scene in Girls like that to experiment with what the girls are trying to portray in the scene and the meaning and feeling behind the lines.

 

 

practicing our dances at my Party!

video of  Katy Perry's California Girls dance at my party!
http://instagram.com/p/lmfgBRBsd_/

Laban forces
-Rudolf Laban
http://www.trinitylaban.ac.uk/about-us/our-history/rudolf-laban

Joan Littlewood (theatre royal stratford east)
http://en.wikipedia.org/wiki/Joan_Littlewood
Jean Newlove
http://www.jeannewlove.com/

we used the Laban technique to create different emotions and feelings that we cold use behind lines, we tried out walking around he room in all of the different forces and describing the type of people we thought the walk portrayed and the different ways we felt.

 

As you can see we all felt different emotions as we walked around using the different forces as stimulus and it was really easy to see how you could create a character out of these feelings based on the way the character walks and stands. Simon explained about how you could use the forces in voice as well as a way of delivering lines in such a way - punch- brisk, assertive and possibly aggressive.

I found this activity really useful in being able to create a character through such simple forces. I tried this out on my script to see if it would help me work on emotion and feeling behind certain lines/scenes.

 

 

learning lines in scenes:

I was having trouble learning what lines came where in the script and needed to work on remembering what to do and where I should be in each scene without holding a script.

Therefore I decided to write down all of the scenes and what sections come in each scene:

 

 

 

 

From these I then wrote each scene onto a post-it note and placed a post it note at the beginning of each scene that listed what happened in that scene. Unfortunately while this helps me when I am rehearsing and practicing lines at home, I believe that I have completed this task too late in the process because I don't use my script onstage or at rehearsals anymore unless instructed to.

Yanis Marshall dance class 

Hannah Marns, Rebecca Winkler and I all went to Yanis Marshall's London dance class at Studio 68 in Southwark as a way of completing our research into him and his sassy dancing it was a real shame that this was post the Girls Like That shows however it did allow us to think about the similarities between our sassiness and his! It was a really fun and energetic experience which allowed us to see how useful it was that we watched his videos previously when thinking about our attitude to the Girls Like That dances.