What you see is what you get!
Hearing everyone together makes me feel better about my voice personally. We learnt it bit by bit with our singing coaches Emma, Kirsten and Kayleigh. I’m part of the backing and I have all the cues down its just remembering the song itself.
Also I performed my first scene again on Wednesday and I have gotten faster, stricter and slicker just like how the teacher should be. I just need the cane and get my lines down and I’ll be ready!
Our next project is on Greek Tragedies, we have to learn a monologue from a play and perform it in front of a camera for next Friday.
A performance in which human suffering and death takes place, giving the audience directly what it is known for. It is about real human beings making terrible mistakes leading to horrific results. Its basic themes resonate with society today because even now in a new era, we can relate to the pain, horror, blood, gore and suffering resided within them. We as humans, even now have to make difficult decisions and have complications with relationships, struggle to accept the world around us and overall struggle to find ourselves and where we belong in society just like many of the characters inside these plays. Its the truth, we live in a flawed world.
Aristotle, a Greek philosopher and polymath during the Classical period in Ancient Greece believed that what made Greek Tragedy so effective was how a hero of tragedy was good but not so good that we as the audience couldn’t relate to them; they had to make errors, they had to make mistakes. In the end they were good people just making the wrong choices. Creon for example, he wasn’t necessarily a bad character or king just a human being who made loads of mistakes because like the whole population he isn’t perfect.
“Hamartia, the error of judgment,” – as Aristotle put it. Almost like our modern day phrase, “Actions have consequences.”
The best example of how Greek Tragedy has been used or brought into our modern day society would be through soap opera because there is death, fights between family members, unexpected sex, many things that relate back to Ancient Greek.
Aristotle talks about a thing called, “Catharsis,” which means purify. Once watching a Greek Tragedy we feel pity, guilt, fear and those emotions get purged, get cleansed as he puts it. What he means by that is when experiencing a play it emotionally drains you but in a good way meaning you feel better after the whole experience. Like for example when you cry at a movie and in the end you feel so much better, a sense of relief. It paradoxically strength you and that’s what Aristotle was on about.
To get a better understanding of a Greek play, we read Sophocles Electra a new version by Nick Payne.
It is a play about a group of siblings seeking revenge on their mother and her lover for killing their father. Their mother Clytemnestra only killed her husband because he killed his own daughter to win a war. By the end of the play they get their revenge but in a very bloody and nasty way, one their mother definitely didn’t deserve.
Once we did that for homework we now have to find a Greek monologue and learn it for the 17th which is next Friday. I have chosen one from the play, “Antigone.” It is about one man thinking he knows everything and the impact that it has on the people around him. Ultimately leading to his down fall after everyone that is of importance to him dies, leaving him on his own to suffer the consequences. Antigone is the young lady we follow through the play and we watch as she rebels against her uncle leading to her alternate demies.
The monologue I have picked from the play is one where Antigone is talking to her Uncle the king, who has just condemn her to death for giving her brother a proper burial before she is dragged away. Creon the King and uncle announces how Polyneices was disloyal by leading a foreign army and that is why he wasn’t given a proper burial. Antigone did not care however, she wanted to give her brother a proper burial because he had every right to it, not because of some political statement or to try and prove a point. She broke the law because she was doing what she thought was right and fair.
As a character Antigone is a strong independent women who does not obey the rules and stands up for her beliefs and rights!
Strengths
My firm stance showed how Antigone isn’t a women to back down, the odds are against her and yet she fights to the bitter end.
My face showed no hesitation nor fear, it was clear solid anger, frustration and a hint of sadness.
I used a chain necklace as restraints and I wore my black and white stripy shirt to make the audience understand that she is a prisoner.
I did not move to in order to show her dignity and power.
I pulled on the restrains to show how she will not stand for this punishment she did not deserve.
When talking of her dead family, I looked at all ends of the room, to make out as if I were actually talking to her parents and brother so the audience knew who I was talking to. It was effective and when watching myself back I knew who I was talking about and the reason for why I was in the predicament in the first place.
My voice does change slightly to show how Antigone does not wish to die in such a horrible way.
Near the end I get louder and angrier to define the fact that the situation it not OK!
I got imsparation from this YouTube video:
Improvements
I believe I may have spoken to fast in the beginning and perhaps could have gone for a sadder approach but not one where it showed weakness because crying is not a sign of weakness, if anything it makes you stronger!
I wish to have done more but in the time that I had, I was happy with what I pulled off. So next time I really want to challenge myself by trying to push more, memorize more and in order to do this I need to find a good tactic. I believe even though using voice recording for this performance really helped, I have to have more confidants that I will remember longer monologues.
Maybe some sort of movement may of helped but standing firmly still and just speaking the monologue also shows how you as an actor can just perform it without any concerns.
Overall I am impressed with what I manged to pull of but at the same time I wish I could have done more, shown more of my abilities, more emotion, be more dynamic and overall just feel comfortable in my own skin when performing.
When it came down to having a read through of the play I personally wasn’t satisfied with how the events unfolded, the songs however are the best part to it. As a whole, the play is based around a group of teenagers trying to find their way through a grown up run society in late 19th century Germany and learn that nothing is ever easy. Its a journey of self discovery, sexual awakening, maturity, and revolt. The music and singing is comtemporary so when the teens burst into song they act like teenagers of this era.
My main characters that I will be performing as is Herr Sonnenstich the Latin teacher and Herr Gabor Melchior Gabor’s father, while also taking part in the boy ensemble.
As the Latin teacher I have to learn how to pronounce certain words but luckily not as many as I originally thought. These words consist of:
“Laviniaque venit,” (translated to, ” left the Trojan.”) Lav-in-key
“Multum enim…?” (translated to, “much.”)
“Inferretque deos Latio,” (I couldn’t find a translation that I believed to be true but I believe its along the lines of restore.)
Pious Aeneas > Pie-us Uh-nee-uh’s
In the classroom they are reciting Virgil’s Aeneid.
Also wrapping my head around the german names it quite difficult.
“Stiefel,” > “Sht-ee-ful,”
“Lammermier,” > “Lam-mer-mIer,”
“Melchior,” > “Mel-key-your,”
“Gabor,” > “Ga-bor,”
This week we blocked my first and only scene as Herr Sonnestich, every time I got to practice I had to keep asking for help on how to pronounce the words. So for next week I’ll have them down and hopefully will almost have it by memory for when I get to next perform. I need to think about how I cam going to portray him, his natural expression, body language, posture and the way in which he should speak. I want to make this character all my own not like things I have done in the past.
How the scene runs:
Walk up to each student and listen to them recite the Latin, I then walk around the back of the class, slowly, intimidating the class scaring them. Ben who is playing Moritz is the one to make an error and I go to punish him but Dan who is play Melchior helps him. I hit his chest interrupting him. I need to figure out how I can make it clean and crisp.
I walk up and down the back while they talk (Dan and Ben.)
When realising their talking among themselves I grab Ben by the ear, need to work on that before giving him a last warning.
My day to day routine
A college day: What does it consist of? (Monday)
Gets up around 9
Eats breakfast, depending what I fancy I’ll have toast, salmon +eggs + mushrooms or cereal.
I’ll then get ready before leaving at 10:20 to get to college for 10:45. I sometimes walk or get a lift to college.
Lesson (10:45)
Lunch time for an hour starting at 12:15.
What do I have?
Most of the time pack lunch consisting of a sandwich, fruit, blue berries, raspberries, apple, orange it depends what I want in the morning when making it, some sort of chocolate and a drink.
Lesson as 1:15
Break at 2:45 where I just sit and talk to friends.
Lesson at 3
Evening
Computer, TV, any work from college that needs to be done, read, phone, write, draw, video games.
Dinner is never the same it changes.
Sleeping wise I fall asleep anywhere from 12 to 3.
Goals for 2020
Sleep Better
Walk home from college instead of getting a lift.
Make a set meal plan for breakfast, lunch and dinner.
Cook instead of coming home to my mother cooking me and my father a meal every night. (I do help sometimes however.)
A Normal Work Day (Tuesday)
Start at 1:15
What do I do during work?
Supermarket assistant meaning I work behind the till, but I am being trained on other things.
Break as a whole is 45 minutes, I can choose to take 30 and 15 minutes separately or take it all in one go.
Eating wise I have a microwave meal or once again a packed lunch.
I finish at 9:30
When getting home I either eat something else or just go straight to bed.
Goals for 2020
Make fresh healthy meals for when on my breaks
Get trained on more things.
Save up money for Drama schools and still trying to decide whether to go to Uni or not.
An Average Day off
Wakes up around 9 if I’m meeting my friend in London if not I stay in until around 11-12.
Breakfast/Lunch varies anything from a slice of toast to a roll if I’m just at home. If I’m in London me and my friend may go out or just eat in.
I do course work, TV, Video games, read, draw, listen to music, binge watch stuff when it’s a lazy day.
I may go to my Nan’s.
Dinner varies.
Sleep varies from 12 to 3.
2020 Goals
Learn to play an instrument (Drums)
Learn another language
Learn to drive, just get on and do it.
Learn to sing better.
Improve on drawing and writing.
Cook more.
Sleep better.
Stand up for myself more!
Be more organised.
Find my feet, what do I want to do with my life!
A practitioner who’s main focus was on the actor as well as their message; all props, costume, music, any sort of background element was eliminated. He founded Laboratory Theatre, which is best described as what lies beneath the exterior. He wanted to make a spiritual connection with the audience, he went against everything that makes a theatre, theatre.
His actors needed to be physically and mentally healthy, they were so talented that they could communicate through sounds and movement alone. A Grotowski actor can move every part of their body even the most intricate joints, plastiques this was called. It was all about harmony and peace of mind.
With intense training and using Grotowski’s acting style his actors were taught how to never hold back, break through limitations, experiment, realise their full potential, become aware of abilities they didn’t know they had and learn and grow all at the same time. Training the actor strips away the mechanics of technique to deliver a real truthful performance.
In order to understand the character, the actor must work physically and mentally, delve deep inside their mind in order to become said character. Go for it! Don’t think about what other people think, it will get in the way of progress, was how Grotowski saw it.
One of his techniques was literally to do nothing. If an actor could sit and do nothing for several minutes without becoming distracted by the world around them, then they could do anything.
As a class, we did a repetitive task which involved all of us lying on our backs and when our teacher Nat would call out a number like 1 we would lift up our arm or leg depending on which number she called out. She’d pick up the pace or slow it right down. The funny part to it all was the fact that none of us questioned why we were doing this, but after 10 minutes we were all starting to become unnerved until she finally stopped.
1 = left arm
2 = right arm
3 = left leg
4 = right leg
It is our bodies that express everything about us. You need to separate yourself from the character, attention to detail, for example if a girl were to play a male role, they should talk and act like a stereotypical man and get rid of any features that can connect them back to their original persona.
When it came down to the voice, to emphasises clarity they’d sing, chant and recite poetry. The voice is an instrument.
Don’t rely on props, staging and set to create a piece of theatre. Poor theatre forces actors to use their skills alone to performance a piece of theatre on an empty stage and transform it into a whole new world thanks to their imagination.
Symbolism is an essential part of Grotowski’s work, the audience should always be involved and actors shouldn’t need lighting, props, sounds to carry them through performance.
Like Brecht, Grotowski emphasised the use of emotion memory to recall experiences and recreate feelings. I do not agree with this technique because it can be very traumatic for an actor especially if its a death scene or something like that.
However the two practitioners believe it gave a true, honest performance and showed full dedication and commitment towards the characters, it did not matter how painful, personal or private the memory was.
My Opinion on Jerzy Grotowski
I find the practitioner fascinating, his poor theatre sounds very fun to try out with limited objects and set and I love the whole connecting with the audience part but I get put off by the emotion memory situation. An actor shouldn’t need to suffer in order to put on a real truthful performance. Though being able to move every joint in the body is an interesting concept I don’t feel like it is necessary in certain situations, like TV acting or stage acting where I’m aiming for, I see it more for dancing and gymnastics.
Overall and Reflect
Did I behave professional?
Yes, I believe I kept my process professional in the sense that I always came into rehearse, I didn’t complain, I just got on with it but when learning lines that was a challenge. Mickey repeats himself a lot and it was finding those moments, when they actually came into play.
Also no in the sense that I doubt myself and when performing I believe my group lost faith in me at points to the extent that we all didn’t believe in each other anymore but we fought through the wars and we came back victorious because we cracked on and did it!
Sadly I didn’t enjoy my character who I loved at first as much as I wanted to because of the bad communication between my group. The performance got the better of us and in many ways people weren’t pulling their weight.
All I have to say to that is, “Live and Learn,” I’m Helen Irvine goodnight.
I love Artaud’s “Theatre of Cruelty,” because it really gets the message across by heightening the audience’s senses as well as awakening the nerves and the heart. It gets them thinking about the situation happening within the play, they have no time for a break, their full attention is on the performance. I also love how the audience is placed in the centre of the performance because it’s like they are apart of it.
The way he uses gesture, image, sound and lighting to shock the audience is thrilling, I love a good scare. He believes gesture and movement to be more powerful than text; in some ways I believe that to be true because it physicalises emotions and enhances the overall character that an actor is trying portraying.
Strengths
From the minute I walk in I appear to be one of a higher authority just like how Mickey should be portrayed in the beginning.
I believe Mickey getting a drink before sitting down is a small detail but very effective, making the scene feel more realistic as a whole. The little details matter.
I show I understand Mickey as a character just like the rest of my group with their characters. (Izzy G stood in for Dan while Sue stood in for Kirsten.)
I love how Potts and Sweets are busy being sick in one corner and Mickey and Skinny are having a serious conversation in the other.
Improvements
Because we are still on scripts we stop and start and pause during a fast energetic or serious scene.
We need to work on where we are going to stand in certain parts of the scene, because in some bits we are crowed, while others we do look like we don’t know where we are suppose to stand. We need to plan that and make sure we remember it so it is nice, slick and smooth but also realistic, like we were meant to do it instead of purposely looking for a place to stand or sit. (Mainly towards the end.)
We need to pick up the pace, Potts and Sweets are still feeling the effects of the pills they have taken and Mickey needs to explode more often, let the audience know that there’s something not right about the character that has just come on.
The fight between Mickey and Potts I want it to have more power behind it, perhaps more movement and a more threatening demeanor. (Side not slap Sue/Kirsten harder but keep hand floppy.)
Helen's Performing Arts Life