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(via https://www.youtube.com/watch?v=1lNzJdS1leI)

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(via https://www.youtube.com/watch?v=ElO8lexaJa4)

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(via https://www.youtube.com/watch?v=ibhfcQo16J8)

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(via https://www.youtube.com/watch?v=KUjPsciIJho)

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(via https://www.youtube.com/watch?v=5cRkEw8S2hE)

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(A2B) Located above is a tape constructed of only instrumentals, perhaps for another party to use in the near future, after various negotiations in regard to collaborations with artists in the months that follow. I have recently been investing a lot more time into music, due to the shows and festivals I have lined up in neighbouring cities such as Liverpool and Birmingham. I am also promoting the digital and hard copy release of my debut mixtape ‘SYLLABLES’ and I have been travelling all over the country in order to sell copies and gain a wider following for my music.

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Located above is the direct link to my Debut Mixtape Syllables, on the platform of soundcloud. I am a hip hop artist, and this is yet another format of creative expression I have been able to input time within, and somewhat refine over a number of years. There are notable differences within this art form in comparison to theatre, those consisting of changing lines and altering interpretations at points to appeal to a wider or more stereotypical target audience and fan base, and also how you achieve a fan base differentiates in this format.

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Further Reading:

Following the conclusion of my performance, and after editing my finalised directors cut video I have been put through toward the works of "Kafka". Coming from a heavily working class environment and through being exposed to various traumas and hardships, I feel this has moulded me into the person I am today, along with the theatre this person will inevitably make. Kafka appears to be a revolutionist against the government and it's supposed democracy, and I feel his work resonates heavily with myself and will drive me further to create. Not only for my own social class, but to highlight the lifestyle and prohibitions we incur.

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Here is a directors cut and behind the scenes somewhat, detailing the various inspirations for my piece, including a journey of the creative process itself. I detail why I included some of the elements I did, and what I wanted to highlight within my piece "Nine 2 Five".

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Here is the finalised version of my performance “Nine 2 Five”. unfortunately I was unable to edit any of this further as I could not download any other angles or footage of my piece apart from the initial filming from my fellow classmate and peer “David Wiczynski” who was recording on the front row.

I feel as though if I were to perform this piece again I would focus more upon lighting, incorporate a faster and punchier soundtrack including more life checkpoints into the equation and directly address my Audience to a higher degree.

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After watching this recorded footage back, I quickly realised that the intended atmosphere was apposed here. I almost feel as though I am representing too much of a devilish undertone. Although this is indeed what I intended, the ref light to me possibly could signify a sex worker in the ref light district, or something dangerous with a sinister element. I now intend to light my piece with a sole white spotlight, that will flicker on and off to represent a dingy, smelly office somewhere in this world full of hundreds of shaking, ageing and distraught worker. I am taking part in a contemporary theatre piece that involves representing and bringing to light sex workers within Australia, and after conversing with the curators of this piece I feel this opinion of my own belief was confirmed.

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Attached above is the scoring of my finalised script, split up into stanzas along with the correct health and safety briefing I intend to be delivered by one of my fellow classmates prior to my performance taking place. Timing myself recite the script whilst including the correct actions is around 8 minutes, and to extend this to the allocated 10 minute time frame I intend to improvise a segment detailing the ins and outs of sleep paralysis. I attempted to write up a documentation of this disorder, and realised that it would in fact add to the embodiment of a nervous yet happy character I intend to portray within the start of my piece. Therefore, I will use various stimulus and pre written sentences to formulate a jumpy, skippy "uhming and ahing" monologue to reiterate the fact I appear to have been awake for the entirety of the night before hand, before I undergo my first work day.

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Set Up Time of Solo Piece, without lighting costume.

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Development:

I found through the various reactions coming from my peers and fellow classmates alike, that the concept of my piece was beneficial, and was actually something that needed to be brought to the foreground and spoke of within society. There was still an element missing however. I showcased my idea to Theressa Bradshaw and informed her that I would be playing Puck from Shakespeare’s  A midsummers night’s dream. She informed me that I may need to implement puck into this somehow. Lift up the table cloth to reveal something lurking below, perhaps I would be bare foot to symbolise my connection to my workplace, or be adoring comical plastic chickens feet. I experimented for a while, and stumbled upon the film “The Wizard Of Oz” yet again. I decided through the knowledge that everyone I know is longing to go home whilst working, I would lift up the table cloth at the front of my table, and proceed to click my feet backwards and forwards simultaneously with the soundtrack playing “There is no place like home”. 

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Located above, is the first filmed rendition of my piece “Nine 2 Five”. I have implemented my soundtrack into my piece however at this point I have used no lighting. I feel this highlights the intensity of the bright orange colour though, and I admire the dimmed atmosphere that is present as it enables me to envisage a dingy office somewhere in this world purely inhabited by depressed, ageing working. I now wish to experiment with erecting a cubicle around my person, and perhaps using a red spotlight to showcase there is a darker undertone, and a somewhat ulterior motive behind my employment. I feel that throughout the process of creating this piece I have undergone many twists and turns that eventually led me toward speaking out (to some extent) about an issue that is very close to home and prominent within the area I have been brought up within. I pondered many ideas that would create an experience for my audience members, as I feel that is the biggest intention of theatre, and something all actors alike desire to achieve. I thought the best way to do so would be to implement an immersive experience into the workspace, or to engage directly with my audience throughout the piece. Upon contemplation I realised that an experience is completely subjective to an audience members own mindset and previous experiences etc. so there would be no way to completely full proof my piece toward containing a direct interpretation that would be present. I realised if I created a dialogue that would directly address my audience to begin with and showcase somewhat of a character to which I would then defer from as I undergo the pressure and stresses of a working life, working for an imaginary figure. My happy, easy going personality would be prohibited and stopped upon commencing my first work load which is indicated within the soundtrack. This would juxtapose my initial embodiment of character and spark a thought within my audiences mind, as I showcase my gradual decline into ritualistic habits that are not beneficial to anybody but my employer. 

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Soundtrack and Synopsis:

Here is the soundtrack I have produced for my solo show. Upon improvising a short, brief script I liked the idea talking to someone else on stage that is unseen. I received feedback from Leentje initially advising me not to do this, but that advice was given in different context as it was for a different piece. Within this show the voice that is talking to me will be coming out of a speaker, and I will react toward the speaker system itself (upward) as appose to miming conversation with an imaginary man, acting as if he were stood there right beside me. This way, I can talk toward the heavens, signifying my employer appears to be all around me. I will time precisely how long it will take for my reply to be formatted and verbalised to the audio track, yet enabling the conversation to overlap at times to keep a naturalistic and real tone for the piece throughout. This particular performance will challenge my attributes, style and skills as an artist as my usual acting style is extremely outlandish and characterised with extreme mannerisms and voices. I feel with this piece, it is a chance for me to really attempt an utter embodiment of a “normal” person. I base this character upon a version of myself, the version that would have been created had I not become interested in the arts at an extremely early age, a version of myself that need not strive for thrill and accepted a nine to five job in the city, day in day out. I have mastered my audio track to switch between two alternating ways of speech, with one being very polite and informative and the other a darker, realer tone revealing the truth. I will only interact and communicate with the lighter tone as I will not be enabled to hear the other. I am using Microsoft default voices to voice my employer as I feel as though it is an accurate representation of “the man”, the boss figure that is in a hundred different places at one given time but seems never to be saw in person unless there is a rare occasion. It also adds to the somewhat sinister feel overall and makes the audience feel that bit more uncomfortable, as it is all to apparent that they are witnessing a good man talk to a robot. I wish to play out my worker, or victims lifeline on stage through simplistic actions in the allotted time spots. For example when “21st Birthday” is heard, I will roll my chair on to the opposite side of my desk and perform an action to signify this period of my life, or an alternative to this would be to act out the certain period of time. I then intend to have a cardiac arrest at the end of my show, and die in my chair after pulling up my jumpsuit to signify I am imprisoned at the middle point of my sonic and visual timeline. The whole of my life flashes before my lifeless body and to accompany this i have sped up each time period such as “Sisters Graduation” to enable it to be heard over Frank Sinatra’s my way. I feel this song is a good representation of reflection, and enables my audience 3 minutes to analyse every part of my staging, my lifeless body and to listen to the lyrics and really absorb my intended message all that bit more. I then revive myself some how and appear to have come back to life and consciousness to my bosses automated voice asking me to perform a task for him. I then, in response swipe the contents from my desk and proceed to smash my computer monitor onto the floor into bits in rage. This imagery is so powerful I feel and if I were to cut the lights at this point it would definitely be a dramatic and memorable ending. I intend to either be lit solely through Spotlight number 8, or number 9 as it has a red gel and the effect/affect this would have on my performance could perhaps change interpretations and readings i.e there could be an aspect of sex work with the red light district thought of, is there a relationship with me and my boss? Am I in a photography development room? Either way, red makes everything more eerie.

https://www.youtube.com/watch?v=TpqhbOmwRr8&t=187s

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Here is an array of the props I have gathered that I intend to use, along with a diagram of my staging and a risk assessment I carried out. I realised that I would need to cover my desk with a long enough table cloth so as to conceal my jumpsuit from the waist down as I got into costume and attempted to improvise some text from my stimulus today, with that being a poem. I intend to conceal the fact I am imprisoned within my nine to five work placement, which is why I now carry the intention to conceal my jumpsuit from the waist down to show no clear indicator I am imprisoned by the “system” and bureaucracy until I am prompted to stand up by an exterior source i.e my boss. I feel as though I want to represent leading out the entirety of my existence confined within a small, office cubicle only to find out when my time is up I have left no ever lasting impact on this earth as I believe we are all just blips in this universe, one cheerio in the box of life and the meaning of life then, would be to bring about and sustain some change and impact the world and its working order. I will reinforce this perhaps with a heartbeat monitor sound being heard throughout my performance space representing the fact that I am potentially on a time frame within my life, and am working toward an early grave. 

I initially wanted to smash my PC monitor onto the floor as I feel that is such a powerful imagine and would ingrain itself into my audiences mind. But without the correct precautionary methods and resources available to me I know I will be unable to do so to much displeasure! Even if I were to place a Matt onto the floor or some sort, it would cushion the blow and the screen would not smash. If there were no Matt it would create an indent into the flooring, and this is not my intention.