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Unit 2- scene 3

The villan character kidnaps the girl And takes her to a cave where she is kept tied up by red liquids until a major villain comes across and kidnaps her off the minor villain afer we they have a fight we decided to use this scene as it highlights the fact of kidnapping and how it can is know and need to tell young people to be same and to travel with other people and to be safe

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Unit 2 scene 3

After the girl runs away from the talking trees she comes across an villain who was influenced by a kids children program ‘lazy town’ this induces the children as it's an familiar face.

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Unit 2

http://www.lazytown.com This is a page where I got the idea for my character 'Robby rotten'

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Unit 2- production I have chosen to ware this coat that I am warring in the picture above ^ with purple top and blue trousers for the 'Robby rotten' character. Lighting includes green for he faded scenes and blackouts when changing scenes and lighting when I kidnap the child. A prop that we will use is a teddy bear and red liquish as the rope when I kidnap the girl. The sounds include lighting and birds during the scenes outside when I kidnap the girl

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Unit 2

https://wehavekids.com/parenting/teddy-bear-names This is a link that we got he idea for the mr snuggles from the story

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Girl goes on adventure to find teddy (mr snuggles) that she lost when she was playing with imaginary Friends and comes across trees that speak and is freaked out. This level of immaturity links with the children is keys as it aims to get there attention

Lights: when she runes off after being freaked out she falls to the ground and the lights turn off Background: forest Props: costume is a tree and hiding my Robby rotten style costume underneath

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Girl plays with imaginary friend (gun fights) mother comes out and calls her on and sits her down to talk about her imaginary friends while they Mock her in the background! We use an narrator to gain the audiences attention

Lights: all lights on until mother scene where a spot light will be on then Background: garden background when in playing scene Props: fake guns

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Mask workshop. Unit three drama

Image of the cast of The National Theatre production Bacchai wearing masks, 2002 The National Theatre production Bacchai Credit: Manuel Harlan/National Theatre A mask hides part or all of the face. Most modern western productions don’t use masks, but some genres of work still do. Commedia dell’arte, a traditional Italian form of physical comedy, uses masks and often they appear in Elizabethan and Restoration comedies, where a character might use one as disguise. In Greek theatre the actors all wore exaggerated masks to communicate character. These were made of wood or leather and amplified the voice so that actors could be heard in the immense Greek amphitheatres. The symbol often used to represent drama, two masks, one depicting tragedy and the other depicting comedy, was inspired by Greek theatre.

The importance of masks in Greek theatre is explained in this clip from the National Theatre (subtitles are available) Transcript Modern day mask work

Some modern theatre companies regularly use masks. Punchdrunk’s production of The Drowned Man: A Hollywood Fable, for example, insisted that audience members wore masks. Companies like the Trestle Theatre Company and Vamos Theatre also use mask work. This clip from the Vamos Theatre’s production of Finding Joy shows the exaggerated body movements required when using masks on stage (subtitles are available).

If you’re using masks in your performance remember that your facial expressions can’t be seen so: your body language has to be extremely clear your movement and gestures need to be exaggerated to show emotions you must bring your whole body into the performance Difficulties using masks

There are difficulties involved in using masks on stage. The actor has to keep the mask facing front because if it is angled upstage, the illusion is lost. The actor also needs to share every gesture clearly with the audience to ensure the meaning is clear. Each performer must give and take focus, so the audience know where to look. Staring out directly at the audience to share a reaction is called ‘clocking the audience’.

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Unit 3 tie

Today we looked at the play named sweet porridge “There was a poor but pious little girl who lived alone with her mother, and they no longer had anything to eat. So the child went into the forest, and there an old woman met her. She knew of the girl’s sorrow, and presented her with a little pot, which when she said, “Little pot, cook,” would cook good, sweet millet porridge, and when she said, “ Little pot, stop,” it stopped cooking.

The girl took the pot home to her mother, and now they were freed from their poverty and hunger, and ate sweet porridge as often as they chose. One time when the girl had gone out, her mother said, “Little pot, cook.” And it did cook, and she ate until she was full, and then she wanted the pot to stop cooking, but did not know the word. So it went on cooking and the porridge rose over the edge, and still it cooked on until the kitchen and whole house were full, and then the next house, and then the whole street, just as if it wanted to satisfy the hunger of the whole world. It was terrible, and no one knew how to stop it. At last when only one single house remained, the child came home and just said, “Little pot, stop,” and it stopped cooking, and anyone who wished to return to the town had to eat his way back.“ And we used Emma as the young girl so we used her hair to symbols her hair ^

We got her to do the roll because we thought that she naturally fills the roll as a 7 year old and a quick change of the hair made it more believable.

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who mickey dislikes... Unit three drama

mrs lyons as she keeps Edward awayt from his brother (She is presented by Russell as a lonely housewife, with a cold character who finds it difficult to be affectionate towards others. This may be her natural personality, but circumstances certainly haven’t helped: she and her husband are unable to have children naturally and her husband spends long periods at work away from home. She is wealthy, but dependent upon her successful businessman husband’s income. She doesn’t work or do the housework. She hires Mrs Johnstone to do the cleaning for her, while she shops for expensive things. Russell creates this character as an inconsiderate, pampered but dependent individual. She is a self-centred character who uses others for her own gain. Once Mrs Johnstone has handed over Edward, she no longer needs her and cruelly discards her, manipulating her through preying on her uneducated and superstitious mind. She is an over-protective mother, who is always anxious about Edward, and tries to keep him in the house or garden away from Mickey because she doesn’t want him ‘mixing with boys like that’. She is shown to be overcome by anxieties and suspicions in later scenes, which Russell suggests are the results of excessive loneliness and a loveless life. She becomes unreasonable and is possibly mad when she attacks Mrs Johnstone.)

Sammy mickeys older nasty brother

Aggressive and threatening. Enjoy making fun of others, especially Mickey. When Mickey is 7, he makes fun of him. When he is trying to get a bus pass for school children, and the bus driver says he’s to old he threatens him with a knife. When Mickey is redundant he offers him a job to look out. He kills a filling station worker.

(https://getrevising.co.uk/grids/blood_brothers_sammy_johnstone)

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who mickey likes... Unit three drama

the main person who mickey likes in the play is his best friend and secret brother is Edward, (Edward is presented by Russell as a friendly, generous character. He searches out Mickey to play with and perhaps naively offers him sweets in an attempt to impress him. He joins in with Mickey and Linda’s games and unselfishly tries to get Mickey to express his love for Linda. He is raised in a middle-class home and is educated at a private school. He feels restricted and this is one of the reasons he likes the company of Mickey. He revels in Mickey’s liveliness, bad language and risky games. He is shown to be an impulsive character and one who doesn’t think too deeply about the consequences of his actions. This can be seen in the way he rashly mocks the policeman in the first act and has an affair with Linda in the second. He seems to lack compassion and does not sympathise with Mickey’s plight. Instead, he tells Mickey to use his dole money to live like a ‘Bohemian’. Later, he arranges for Mickey to have a job, but does so condescendingly by keeping it secret.)(http://www.bbc.co.uk/schools/gcsebitesize/english_literature/dramabloodbrothers/2drama_bloodbrothers_charrev4.shtml)

another person who he likes is linda who he askes out half way through the play (She is presented by Russell as naturally kind and compassionate character. She comes to Mickey’s aid both when he is suspended from school and when he is mocked by the other children. She is quite feisty and humorous, joining Edward and Mickey in their games and often leading the way. For example, she plays a trick on a policeman so that the three of them can run away. Linda is strong-willed and very supportive of Mickey. She tries to protect him and keeps pushing him to give up his drugs. Linda is from a poor family like Mickey. Her lack of education and money allows her no real chance of happiness once Mickey becomes a depressed drug addict. As a last resort, she asks Edward for help before having an affair with him. Her betrayal of Mickey suggests that she is in some ways untrustworthy; but this is also her only chance to escape from the circumstances that have trapped her)

(http://www.bbc.co.uk/schools/gcsebitesize/english_literature/dramabloodbrothers/2drama_bloodbrothers_charrev5.shtml)

mrs johnstone, his mum, who hel;ped him all the way through the play until he finds out that he  has a brother and they both die (She is 25 years old at the start of the play and has already had seven children. This suggests that she has a naturally maternal character, embracing new life and being a caring person. Russell might also be hinting at religious rulings against contraception. Often she makes rash decisions on impulse rather than thinking carefully over the consequences of her actions. For example, she buys lots of items from a catalogue on credit despite knowing she probably won’t be able to pay for them later. She has a strong, generous character knowing almost instinctively what’s right and wrong, although her circumstances make it hard for her to be a straightforwardly ‘good’ person. She refuses Mrs Lyons’ attempts to bribe her showing that she values people above money, yet she does agree under extreme pressure to give Mrs Lyons one of her children. This is suggested to be largely unselfish because she is shown only to have concern for the child, foreseeing a more comfortable life for him. She is naturally a kind and loving mother and finds it hard to discipline her children and keep them under control. When Sammy burns the school down instead of scolding him she casually jokes that it was the school’s fault for letting ‘the silly gets play with magnesium’. She is uneducated and does not value intellectual or academic pursuits. This is probably why she is superstitious, something which causes her to believe the twins’ curse and be terrified into following Mrs Lyons’ desires. It also means she lacks concern for the education of her children, taking little interest when either Mickey or Sammy are suspended from school. She is lively and has a zest for life. This can be clearly seen in her love of dancing, but also in her general attitude, which could almost be said to be happy-go-lucky. She follows her instincts, believing them to be her best guide through life. She has a fatalistic attitude: ‘what will be will be’. She does not really concern herself with causes or explanations of the events in her life, instead accepting them as they happen. She rejoices in her relocation by the council for example, but does not wonder how this occurred – to her, it is merely the work of fate’s lucky hand. She is poor and trapped by poverty. This makes it very difficult for her to care for her children and is ultimately the reason that she gives Edward away to Mrs Lyons. Russell suggests that she is old before her time (remember that she is only in her mid-twenties at the start of the play) and has had to sacrifice any youthful enjoyment for the life she has.)(http://www.bbc.co.uk/schools/gcsebitesize/english_literature/dramabloodbrothers/2drama_bloodbrothers_charrev1.shtml)

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Stanislavski workshopUnit three drama

It’s very easy to over-simplify the method of Konstantin Stanislavski, one of the greatest and most influential of modern theatre practitioners. The main thing to remember is that he takes the approach that the actors should really inhabit the role that they are playing. So the actor shouldn’t only know what lines he needs to say and the motivation for those lines, but also every detail of that character’s life offstage as well as onstage. In this way we can establish Stanislavski as a director and practitioner whose productions are naturalistic. Stanislavski’s background Stanislavski’s real name was Konstantin Sergeyevich Alexeyev but he adopted the stage name of Stanislavski in 1884. Born in 1863 to a life of considerable comfort as a member of one of the most affluent families in Russia, he died in 1938 at the age of 75. His family loved the theatre and he was able to indulge in amateur theatricals as a boy. But when he took a stage name it was to conceal his theatrical work from his family. However, in 1887 he had his father’s approval and eventually became an established figure. As a serious theatrical practitioner, he made careful notes and evaluated his work, a habit he followed from the first steps in his career. Later he was to write major texts on the art of performance:

My Life in Art An Actor Prepares Building a Character Creating a Role

               http://www.bbc.co.uk/education/guides/zxn4mp3/revision

this helped me as It made my acting more natural and I fell like I’m more than the character before I studded Stan.

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work on voice and movementUnit three drama

21st January-

I have much better voice control than I started with as I now control my voice control correctly but I really need to improve my lines remembering more. I need work on my thoughts on where I am standing as sometimes I forget where I’m standing when performing

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work on voice and movementUnit three drama

28th November-

I have improved on my voice as I have got better pitch but I need to improve on my tone some more. I still tend to slant so this is a thing that I need to work on more.

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work on voice and movementUnit three drama

September 20th-

I have ok management of my voice but I need to work on my tone and my pitch depending on my character I am playing. I have good movement control only thing I have to improve on is my weight placement as I tend to slant to one side when I am standing.

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Unit three drama

Their are two scenes that I will be playing, they both link one in another, the first scene is when mickey is locked out of his house and his mom unlockes the door and mickey is suspiouse about why did she lock it so he askes the question “MUM DID YOU THINK IT WAS THE RENT MAN” this is my first incline that maby mickey understands that his mum is in finasual dept and may need help. in the second scene mickey and Edward meet for the first time and this is the first time we witness them bonding and becming “blood brothers” I find it quiet hard to play this roll as It is a yound , 7 year old and I think I will be better at the older part of the performance and I also have the largest part in my group. but it is a honour to play this part. 

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this is my character in the play ^

his name is mickey and We first met Mickey as a seven year old boy and followed him through his life of fun times and troubled times until his moment of realising his best friend Eddie is, in fact, his twin brother. Stephen played this role to perfection - his sheer, unadulterated joy at being a 7 year old in shorts and shooting his friends (though obviously he had his fingers crossed behind his back!) was a joy to behold. His monologue “I wish I was our Sammy…” was incredible, so envious was he of his big brother who was ‘nearly 10’. He slid across the stage, galloped around and had the audience firmly in the palms of his grubby little hands! As Mickey grows up, we see the  relationship between him and Eddie develop - and so Stephen became a teenager, showing the angst of not being as good as his friend - not so well educated, not so wealthy and not so well turned-out. He and Eddie fall for the same girl, Linda, but it is Mickey who wins her and it seems like his life will turn out okay, until he gets involved with his brothers schemes and ends up in prison. He turns to drugs to help him cope and becomes dependant upon them - and here is where Stephen really excelled. The way he portrayed Mickey at this stage of his life still remains with me now - the feelings of despair and hopelessness, of letting everyone down and of not being good enough. We then move on to the final stage of his life - the confrontation between Mickey and Eddie when he realises his wife has been seeing Eddie behind his back. As he goes to find Eddie and the police are involved his Mother steps in - and reveals that they are twin brothers separated at birth. His final, heart-wrenching words are “I could have been him” and as he waves the gun around towards Eddie the police burst on to the scene and both men are shot dead. To play a character like Mickey - and go from being a 7 year old boy to a grown man with severe depression in the space of a couple of hours - requires an incredible energy and ability. Stephen is an amazing actor and this show really demonstrated his versatility - this is the only show I can remember that sold 'standing’ tickets for performances and many a time I stood at the rear of the stalls and watched the usherettes literally dancing in the aisles in the first act, then standing crying by the end ~ and these people saw it every day! (http://www.mcgannbrothers.org.uk/html/blood_brothers.html)