#Perkoff

[tamsoj]

Stuart Z. Perkoff, from "The Venice Poems, I" from A Mind Apart: Poems of Melancholy, Madness, and Addiction

[garadinervi]

«Yugen», No. 7, Edited by LeRoi Jones (later Amiri Baraka) and Hettie Cohen, Cover art by Norman Bluhm, Yugen, New York, NY, 1961 (pdf here) [Familiar Trees, Great Barrington, MA. RealityStudio, New York, NY. verdant press. Unoriginal Sins, The Old Primary School, Temple, Midlothian]. Feat. LeRoi Jones, Gilbert Sorrentino, Bruce Boyd, Robert Creeley, Kenneth Koch, George Stanley, Frank O’Hara, Gregory Corso, B. Smith, Stuart Z. Perkoff, Gilbert Sorrentino, John Ashbery, Philip Whalen, Larry Eigner, Max Finstein, Joel Oppenheimer, Diane DiPrima, Charles Olson, Edward Marshall, Joel Oppenheimer, Allen Ginsberg, Norman Bluhm, Frank O’Hara

[sfsucw]

The 2023 Perkoff Prize is now open!

The Perkoff Prize is a tri-genre contest that awards $1000 and publication each to writers of the best story, set of poems, and essay that engage in evocative ways with health and medicine as judged by the editors.

DEADLINE: March 15.

https://missourireview.com/contests/perkoff-prize/

[artbookdap]

Today, we're thinking of Wallace Berman, who was born OTD in Staten Island, 1926, and died OTD, in Topanga, CA, 1976.⁠⁠ ⁠⁠ Images here are from 'Semina Culture: Wallace Berman & His Circle,' published by D.A.P. & @theicala and edited with text by Michael Duncan & Kristine McKenna with text by Stephen Fredman.⁠⁠ ⁠⁠ Pictured here:⁠⁠ 1. "Self-portrait, Larkspur," 1961.⁠⁠ 2. Wallace Berman, "Untitled," 1961–62, Verifax collage.⁠⁠ 3. Wallace Berman’s 'Semina,' a journal of poems and artworks published in nine issues from 1955 to 1964, featuring work by John Altoon, Toni Basil, Charles Britten, Cameron, Bruce and Jean Conner, Jay DeFeo, Diane DiPrima, Robert Duncan, Llyn Foulkes, Ralph Gibson, Allen Ginsberg, Walter Hopps, Dennis Hopper, Philip Lamantia, Michael McClure, Taylor Mead, Henry Miller, Jack Smith and many others.⁠⁠ 4. 'Semina 1,' 1955, Los Angeles, 150 copies. Cover is a photo of Cameron by Berman. Drawing is "Untiitled (peyote vision)" by Cameron.⁠⁠ 5. 'Semina 4,' 1959, San Francisco. Cover: "Wife" by Wallace Berman (photo of Shirley Berman). Poem is Stuart Perkoff's “Boplicity."⁠⁠ 6. Wallace Berman, "Untitled," 1971–72, Verifax collage.⁠⁠ 7. Berman family with "Panel" assemblage, 707 Scott⁠⁠ Street, San Francisco, 1959. ⁠⁠ ⁠⁠ Read more via linkinbio!⁠⁠ ⁠⁠ #wallaceberman @imtoshberman #semina @sfgpersonal @michaelnduncan #bornotd⁠⁠ https://www.instagram.com/p/CLcRNDDpHEE/?igshid=1vk3c6hjnvss1

[rabbitcruiser]

Public Art, Venice (No. 1)

Venice is known as a hangout for the creative and the artistic.In the 1950s and 1960s, Venice became a center for the Beat generation. There was an explosion of poetry and art. Major participants included Stuart Perkoff, John Thomas, Frank T. Rios, Tony Scibella, Lawrence Lipton, John Haag, Saul White, Robert Farrington, Philomene Long, and Tom Sewel.

In the 1970s, prominent performance artist Chris Burden created some of his early, groundbreaking work in Venice, such as Trans-fixed. Other notable artists who maintained studios in the area include Charles Arnoldi, Jean-Michel Basquiat,John Baldessari, Larry Bell, Billy Al Bengston, James Georgopoulos, Dennis Hopper, and Ed Ruscha. Organized by the Hammer Museum over the course of one weekend in 2012, the open-air Venice Beach Biennial (in reference to the Venice Biennale in Italy) brought together 87 artists, including site-specific projects by established artists like Evan Holloway, Barbara Kruger as well as boardwalk veteran Arthure Moore. In the 1980s and 1990s Venice Beach became a mecca for street performing turning it into a tourist attraction that rivaled many of southern California's other destinations. Chainsaw jugglers, acrobats and comics like Michael Colyar could be seen on a daily basis. Many performers like the Jim Rose Circus got their start on the boardwalk.

Source: Wikipedia

[newmusicradionetwork]

Listen to the newest single – “I Still Love You So” by Kenneth Roy

Kenneth Roy began been playing drums since the age of four, and keyboard since the age of six. Kenneth's father, Lee Roy Berry influenced his son with Country Music/Rhythm & Blues at an early age. Later he took up Vocals and Percussion as additional musical focal points. Kenneth Roy's keyboard mentors have been Dick Hindman and Si Perkoff, while his Drums & Percussion guidance come from Colin Bailey and Bob Belanski. The two main forces performing, Kenneth Roy and Daniel 'Doctor' Ryman, are the Singer/Songwriter and Engineer/Producer, respectively. Both are multi-instrumentalists and long-time collaborators. Daniel 'Doctor' Ryman's musical career spans 40 years of performance, recording, mixing and mastering with artists such as Quincy Jones (The Color Purple), B.B. King, Ray Lynch (Platinum albums), Peter Rowan 'Texican Badman' (Jerry Garcia-David Grisman), The Mighty Diamonds, Philippe Wynn (The Spinners) and Earth, Wind & Fire. The 'Chairman' album contains five singles that have reached the AC Top 100 and Hot AC Top 100 in Billboard, Mediabase, New Music Weekly and USA Today. The newest single "I Still Love You So" has debut on 13 Billboard/BDS reporting Radio Stations nationwide. Backed by world renowned saxophonist Richard Howell (Chaka Khan, Etta James, Carlos Santana, Buddy Guy) and powerful bassist Baron Chase (Marty Balin, Lester Chambers, Tony Williams, Jon Anderson, Clarence Clemens) the hot Duo transforms into a powerful Quartet. The additional juice of Danny Armstrong on trombone and Geechi Taylor on trumpet bring a large-scale 'Live Band' sound that one rarely hears on modern recordings. Live rhythm tracks and 'old-school' tracking techniques applied at Daniel 'Doctor' Ryman's Northern California studio (AudioEmissary) give the album a unique feel of stunning HD 24bit modern audio clarity with analog warmth. Additional Artist/Song Information: Artist Name: Kenneth Roy Song Title: I Still Love You So Publishing: Kenneth Roy Berry Publishing Affiliation: BMI Publishing 2: Physico Records/Entertainment Publishing Affiliation 2: BMI Album Title: Chairman Record Label: Physico Record Label: Physico Records/Entertainment, WireonFire.com/AudioEmissary Records Daniel Ryman 4157866306 webmaster@wireonfire.net Radio Promotion: WireonFire.com Daniel Ryman 4157866306 webmaster@wireonfire.net Publicity/PR: Richmond Daniel Ryman 4157866306 webmaster@wireonfire.net Manager: Physico Records/Entertainment Daniel Ryman 4157866306 webmaster@wireonfire.net Read the full article

[newmusicweekly]

Listen to the newest single – “I Still Love You So” by Kenneth Roy

Kenneth Roy began been playing drums since the age of four, and keyboard since the age of six. Kenneth's father, Lee Roy Berry influenced his son with Country Music/Rhythm & Blues at an early age. Later he took up Vocals and Percussion as additional musical focal points. Kenneth Roy's keyboard mentors have been Dick Hindman and Si Perkoff, while his Drums & Percussion guidance come from Colin Bailey and Bob Belanski. The two main forces performing, Kenneth Roy and Daniel 'Doctor' Ryman, are the Singer/Songwriter and Engineer/Producer, respectively. Both are multi-instrumentalists and long-time collaborators. Daniel 'Doctor' Ryman's musical career spans 40 years of performance, recording, mixing and mastering with artists such as Quincy Jones (The Color Purple), B.B. King, Ray Lynch (Platinum albums), Peter Rowan 'Texican Badman' (Jerry Garcia-David Grisman), The Mighty Diamonds, Philippe Wynn (The Spinners) and Earth, Wind & Fire. The 'Chairman' album contains five singles that have reached the AC Top 100 and Hot AC Top 100 in Billboard, Mediabase, New Music Weekly and USA Today. The newest single "I Still Love You So" has debut on 13 Billboard/BDS reporting Radio Stations nationwide. Backed by world renowned saxophonist Richard Howell (Chaka Khan, Etta James, Carlos Santana, Buddy Guy) and powerful bassist Baron Chase (Marty Balin, Lester Chambers, Tony Williams, Jon Anderson, Clarence Clemens) the hot Duo transforms into a powerful Quartet. Read the full article

[spinstrackingsystem]

Listen to the newest single – “I Still Love You So” by Kenneth Roy

Kenneth Roy began been playing drums since the age of four, and keyboard since the age of six. Kenneth’s father, Lee Roy Berry influenced his son with Country Music/Rhythm & Blues at an early age. Later he took up Vocals and Percussion as additional musical focal points. Kenneth Roy’s keyboard mentors have been Dick Hindman and Si Perkoff, while his Drums & Percussion guidance come from Colin Bailey and Bob Belanski. The two main forces performing, Kenneth Roy and Daniel ‘Doctor’ Ryman, are the Singer/Songwriter and Engineer/Producer, respectively. Both are multi-instrumentalists and long-time collaborators. Daniel ‘Doctor’ Ryman’s musical career spans 40 years of performance, recording, mixing and mastering with artists such as Quincy Jones (The Color Purple), B.B. King, Ray Lynch (Platinum albums), Peter Rowan ‘Texican Badman’ (Jerry Garcia-David Grisman), The Mighty Diamonds, Philippe Wynn (The Spinners) and Earth, Wind & Fire. The ‘Chairman’ album contains five singles that have reached the AC Top 100 and Hot AC Top 100 in Billboard, Mediabase, New Music Weekly and USA Today. The newest single “I Still Love You So” has debut on 13 Billboard/BDS reporting Radio Stations nationwide. Backed by world renowned saxophonist Richard Howell (Chaka Khan, Etta James, Carlos Santana, Buddy Guy) and powerful bassist Baron Chase (Marty Balin, Lester Chambers, Tony Williams, Jon Anderson, Clarence Clemens) the hot Duo transforms into a powerful Quartet. Read the full article

[airplayaccess]

Listen to the newest single - "I Still Love You So" by Kenneth Roy

Kenneth Roy began been playing drums since the age of four, and keyboard since the age of six. Kenneth's father, Lee Roy Berry influenced his son with Country Music/Rhythm & Blues at an early age. Later he took up Vocals and Percussion as additional musical focal points. Kenneth Roy's keyboard mentors have been Dick Hindman and Si Perkoff, while his Drums & Percussion guidance come from Colin Bailey and Bob Belanski. The two main forces performing, Kenneth Roy and Daniel 'Doctor' Ryman, are the Singer/Songwriter and Engineer/Producer, respectively. Both are multi-instrumentalists and long-time collaborators. Daniel 'Doctor' Ryman's musical career spans 40 years of performance, recording, mixing and mastering with artists such as Quincy Jones (The Color Purple), B.B. King, Ray Lynch (Platinum albums), Peter Rowan 'Texican Badman' (Jerry Garcia-David Grisman), The Mighty Diamonds, Philippe Wynn (The Spinners) and Earth, Wind & Fire. The 'Chairman' album contains five singles that have reached the AC Top 100 and Hot AC Top 100 in Billboard, Mediabase, New Music Weekly and USA Today. The newest single "I Still Love You So" has debut on 13 Billboard/BDS reporting Radio Stations nationwide. Backed by world renowned saxophonist Richard Howell (Chaka Khan, Etta James, Carlos Santana, Buddy Guy) and powerful bassist Baron Chase (Marty Balin, Lester Chambers, Tony Williams, Jon Anderson, Clarence Clemens) the hot Duo transforms into a powerful Quartet. The Read the full article

[themissourireview]

Hey everyone! The Missouri Review (a literary magazine)’s Perkoff Prize deadline was just extended until Thursday, March 31st! We’re giving away $3000 in prizes for prose and poetry about health, and I’d love to read your work on our submissions page :) Tell your doctor/nurse/patient friends, or dig up your archive and revise! Whatever your experience, we’re interested. Write!

If you’ve got any questions, please ask away!

[johneckels]

i do have cerebral palsy what is the cash I love life my family or friends

I do have several policies but that's okay I love my family I got good family and I got good friends I got my school friends back to I'll talk to one of them everyday and see if married but I'll talk to her everyday please talk back and forth adult the other ones do but Sid out my number no wheelchair and I'm glad I want someone who doesn't mind I'm in the wheelchair I don't want somebody to say I feel sorry for you cuz you don't want to I don't want that to happen I love life and I love my family and friends but I feel alone call want somebody to hold me for tents the arm tired good for sleeping alone crawl one somebody go home I want somebody could you turn up valve Miss I wanted to write this post before I went to bed cuz I invite up first today on here for all of you please call me on my blog I don't care when you call me does low gamma blog tell your friends and family last night are walleye wants a video on YouTube and it made me cry cuz it's about my friend same berkoff who did a documentary on YouTube oh well I don't know how the do a documentary on YouTube Carlo you don't know how the bill documentary call one of those documentary but I don't know how to

please stop in and say hi to me and please stop in and say hi to my friend Jim Burke off on the African Nightmare on this blog love and Nightmare vlog the tennis blog laughing at my nightmare blog I want to ride horses here a couple years ago but I didn't know how to do the cancer letters all New York but they changed it so I can do it now but no it listen to me having Cerebral Palsy it's hard cuz you don't know when you're going to get stressed out you don't know when you're going to have that moment yes when I was 7 years old couple of my friends passed away younger kids they said when you have several palsy it was built out of younger well kneaded cinnamon I'm 43 years old yes I might have a little bit of friendly in French batata Cafe I love my family first3 seconds I just want a girlfriend to love me the whole movie it's my turn do stuff in and take care of your nails your mom and dad it's bad there turns but now it's my turn230i review I don't care if you have cerebral palsy or if you're feeling lost I don't care if you have most of the day I don't care if you have muscle. Activate what same berkoff house if you don't know what shame perkoff is look up scorpion what does Gizelle real name in the videos and the video and please stop and and tell me how I I'm trying my best to Vlog for you everyday but sometimes I don't block you everyday cuz there's something going on look I'm not going to be able to Vlog on Easter Cosmo free music covers on

I want to live on my own but I don't know how to do one taught me how to live on my own no one taught me how don't work either no one thought me pictures of dog I'm not lazy I'm not lazy I just don't know how to work on that one show me how to work cuz I did it going to call and see but my body had other plans for me like my stomach muscle my stomach muscle quit on me so I can't go to the valve from on my own well basically when it starts to come animal balls are you go but I still need to get it anymore let every five days the help but I'll get the belt prison out of my system what do I do want to live on my own but I need help I believe living on my own

[sfsucw]

The deadline for the Perkoff Prize has been extended until April 2. The Perkoff Prize is a tri-genre contest that awards $1000 and publication each to writers of the best story, set of poems, and essay that engage in evocative ways with health and medicine as judged by the editors. NEW DEADLINE: April 2. All submissions must engage with health and medicine in some way.All submissions must be previously unpublished.Poetry: up to 10 pages of poetry.Fiction and Nonfiction: up to 8500 words, double-spaced. More information: https://missourireview.com/contests/perkoff-prize/.

[blairemclaren]

Kat Perkoff Obituary - Death | Dead - Kat Perkoff Passed Away

Kat Perkoff Obituary – Death | Dead – Kat Perkoff Passed Away

Kat Perkoff Obituary – Death | Dead – Passed Away

Kat Perkoff Death – Dead: A great loss was made known to InsideEko. As friends and families of the deceased are mourning the passing of their loved and cherished Perkoff.

Having heard about this great loss, the family of this individual is passing through pains, mourning the unexpected passing of their beloved.

This departure was confirmed through…

[performingartsmillie]

Unit 2, Task D - Learning aim D: Review and reflect on development of skills and techniques for live performance

Physical Skills:

At the beginning of our performance we have a scene when all of us became soldiers and start fighting (as if we was in the Bulgarian war). We had to develop a fighting sequence and making our reaction and interaction between one another believable. When we first started working on our fight scene we did our moves in slow motion. This was so we didn't actually hit each other and to make sure it was clear that we knew what we had to do, to also make our timing perfect when each movement is made. Once we did the fight scene in slow motion we picked up the pace so we could make our war scene more realistic and make our movements shown at a higher quality. I think doing the fight scene was a clever way to start off our performance as it was essentially apart of act 1. When we first started working on our fight sequences I wasn't really confident about it because my reaction wouldn't be too convincing (my facial expressions and bodily expressions may have not been realistic). However, once we kept doing the fight scene I gained more confidence because we have all been over it a lot in the rehearsal process. With the help of the music chosen (similar to adventurous music) it allowed the actors to build their characterisation of being soldiers. This was shown clearer in our postures, gestures, facial expressions and bodily expressions. As our gestures and bodily expressions could be described as impetus. A physical skill that I learnt throughout the rehearsal process was sign language. To finish our performance we sang the well known Christmas song All I Want For Christmas by Mariah Carey and one of our fellow peers taught us how to sign along to the lyrics of the song. We added sign language so we could get the whole group involved and add in some sort of movement within the song because it made the performance look more put together as we didn't have people just standing on stage with nothing to do. At first not everyone knew all the signs to the song as some people found it a bit harder than others and it was a bit difficult at first to get the rhythm and tempo right. So, as a company, we came up with the idea of having Kelsey and Orei doing the signing at the front (as they knew it all). Me and Frankie knew bits of it however, we was also singing the whole song so if we knew the signing to that particular bit we would do it. While we would have everyone else come on stage at a particular moment clapping a long and showing enthusiasm. Due to rehearsing this specific song a numerous amount of time we were able to make the signing go really well with the chosen song. I think learning the sign language to the song was a great idea because we all tried something new and pushed ourselves to be able to sign along to songs. As it is a skill that we have now developed. As my character of Catherine my movements had to be quite gentle and lady like as I was the wife of Major Paul Petkoff. For the majority of the script I was sitting with my posture being upright and paying a lot of attention to my sewing, as it was the prop I used to help with my characterisation. However, as I found out that Captain Bluntschli has come back to return the coat my mannerism had to become very frantic. I had to rush around and make sure I look presentable, whilst trying to get him back out of the house without Sergius and Petkoff knowing. I did find this quite challenging to start acting quite frantic at first. I think this is due to overthinking my actions as I had to take my apron off and the bandana whilst being in my frantic manner and me thinking that I will start to panic if the apron doesn't come off or if something goes wrong. However, due to a lot of rehearsal time and practise I was able to display my frantic actions in a realistic matter and made sure my apron was easier to take off. Meaning that I wouldn't have to panic if something goes wrong. I also just had to take my time with my lines and my movements. By the time we performed the piece I believe that I did quite well with that scene and the rehearsals were definitely needed.

Vocal Skills:

Throughout this show I had to perform 3 Christmas songs. One being All I Want For Christmas by Mariah Carey and the other two being Fairytale of New York by the Pogues and Santa Baby. Practicing these songs required a lot of vocal warm ups, one of the warm ups consisted of counting from 1 to 8 and changing the pitch of our voices as we count up. With 1 being the lowest note and 8 being the highest. We also did simple tongue twisters such as; unique New York, New York is unique, red lorry, yellow lorry and Peter piper picked a pepper. One other vocal warmup we did was using our diaphragms and simply shouting out a sound similar to 'UH'. This was to make sure we was using our diaphragm more than straining our voice. We did all these warm ups to make sure that our diaphragm and voices are ready to be used and that we are able to project our voices without straining ourselves. When I started learning the lyrics to each song, All I Want For Christmas and Santa Baby I didn't have trouble with because I've sung both songs before. However, when it came to Fairytale of New York I had a bit of trouble because I didn't know the words when we first practised it and I thought my voice wouldn't sound fitting to this song. Once I knew the lyrics it made everything a lot easier and I started to feel more confident with singing this particular song. Whilst singing Santa Baby me and Frankie decided to cut it a bit short so it fitted with the scene better. Even though this meant we had to do it acapella but that wasn't a problem as we felt confident with this particular song. When it came to All I Want For Christmas we was planning to sing the whole song and have different people singing different parts of the song. This didn't happen because not everyone felt comfortable with singing which is understandable. Frankie then suggested that we cut the final verse of the song meaning there would be no instrumental. However, we felt it would be a lot better if we did have the instrumental meaning we would sing the whole song. Which is what we did and I believe that was the better choice as it got everyone involved and I proved to myself that I am able to push myself to sing something slightly more difficult. I think when it came to the singing me, Connor and Frankie did very well because we didn't forget the lyrics, we didn't strain our voices trying to singing and we had good communication between one another. As my character of Catherine my voice had to be at a low pitch and calming to display myself as 'lady like' as well as maintaining a reasonable pace that suited my character. I chose to have this tone of voice because I believe it matches with my character as she is a middle class woman, mother and wife of a general during the war. When we first started looking at the script and got assigned this role I thought to myself that "a lady never shouts". Keeping that in mind I made sure that my voice was at a reasonable level. However, I did need to project my voice a bit more. Personally I did find it challenging at first trying to have a calming voice but having it loud enough for everyone to hear. Once I started performing in front of an audience I think it just came naturally to speak louder. Although I had to stick to having a calming voice for the majority of the script until eventually I did have to change the tone of my voice. This is when I found out Captain Bluntschli was arriving at my characters house. At this point I had to sound quite panicky and had to make sure that I ordered Louka around. This was the one time my character could raise her voice. I did have a bit of trouble at first with this scene because my voice was too calming. So Conniba suggested to me that I should think of a moment I have ever been panicky and had to think on my feet (using the Stanislavski method). This helped me a lot as I was then able to sound panicky through my voice as well as my actions. I thought this was the best way to make my voice sound a lot more convincing. I believe this went well as I was able to pronounce my words more once I found the fitting way to speak in that particular scene.

Interpretive Skills:

When I got given the character of Catherine I automatically thought that I should sound well spoken. The reason why I thought this was because the description of Catherine states that she is mainly middle class. I wanted to sound as if I was trying to be quite articulate and seem at a higher class than I actually am. However, when I first read Catherine's lines in our first table read I did think she appeared a lot more classier than she actually is. I think I achieved the voice of Catherine as I had control over my breath and kept a steady pace. As well as figuring out which moments should have a pause included. I was able to stick with sounding well spoken, as my posture helped with how I would pronounce my words and my characterisation. It especially helped when we did a lesson reading between the lines and allowed me to ask myself what I wanted from that line. The movement of Catherine was, in my eyes, minimal as for the majority of the script she is sitting in the garden doing her own little thing. I was unsure what I should be doing when other characters were saying their lines. I would react to those that were relevant or direct to my character however, I needed to be doing some sort of activity while Sergius and Perkoff were discussing business. I then got given the suggestion of doing some sort of sewing or knitting. We worked with knitting first, but because I wasn't actually knitting it would make more sense if I was sewing as it seemed a lot more realistic. I thought this was a much better solution for my character of Catherine. Sitting with my back straight, having my costume on and sewing really helped me with my characterisation. As when I started being my character of Catherine I wasn't too sure on what I should do with my hands and where I should place my hands. When sewing I was able to show clearly the key moments as I would stop paying most of my attention to my own little thing. For example, when Sergius (Danny) started telling us the story of an Servian officer sneaking into a young Bulgarian lady's room me and Frankie (Raina) had to start looking anxious and start worrying slightly incase they found out that the story was about our characters. I think my characterisation was quite good but I could definitely improve. I believe this is mainly because I needed to not come out of character. Which is something I am going to improve on. When we first started reading the script I imagined a bit more drama being involved, this is due to the idea of the Servian soldier (Captain Bluntschli, Kajus) would be more involved making it more of a mission to make sure that Petkoff (Connor) and Sergius (Danny) wouldn't find out that we was involved with the solider sneaking into Raina's room. However, I was happy with the way the play was because it was straight to the point and having the twist of Sergius and Petkoff already knowing Captain Bluntschli. When we was rehearsing we was slightly confused about Captain Bluntschli and the Servian soldier being the same person, as they are both written down as two different characters. Once we got to that point of the play in rehearsal it was a lot clearer that they were the same person because they had the same costume and intentions. When we first started reading the script we got told that it was a comedy. I personally had a bit of trouble trying to see the comedic side of the play. However, as we was developing the play I realised to make it funny it all depends on how we deliver the lines. Especially when Catherine (me) and Louka (Kelsey) had a conversation with one another it appeared funny because you could hear in Louka's voice that she was getting frustrated by Catherine because of the amount of questions she was asking, as Catherine made Louka come back and forwards. Louka's facial expressions also helped with making this scene more comedic as she was showing clearly to the audience that Catherine was annoying her. When we started putting things on their feet I was happy with how we've made this play unique and different to the original. As act 1 was displayed through freeze frames and act 2 was followed by the script. As we also ended it by the time the Servian soldier was named (Captain Bluntschli) and the audience discovered that he was already known by Petkoff and Sergius. I believe that the play went really well because everyone was committed to their characters and were able to learn all the lines and actions we needed and took on board the feedback given and gave feedback to help with other people.

Personal management and discipline:

I believe when it came to personal management and discipline I was able to handle it as I attended every rehearsal, I was on time to all rehearsals, I learnt my lines and I was willing to help others. The reason I made sure I was always on time and at every rehearsal was because I know it would benefit me and help build my character more as we got closer to the day of the performance. Also I would know if anything changed and wouldn't have to catch up and not know what to do, this allowed me to help other people that I have missed that lesson and give them suggestions on what they could do in that particular part of our showcase. Coming to every rehearsal allowed me to learn my lines to the play and once I knew all my lines it was a lot better to focus on the small detailing like the facial expressions and movements involved. I think because I was motivated and committed to making this showcase the best we could make it that helped with me helping others and turning up on time to each rehearsal. By the time it was ready to perform I was nervous but I knew what I was doing and reassure myself and others. There were times where I would feel tired from going over the same bit each time and might be getting slightly distracted but then I would remind myself we are doing this to make the showcase be the best it can be. Also, when it comes to performing in theatre it will be more intense and we have to prove that we can handle the hard working conditions and long hours.

Identification of strengths and areas of development:

I am punctual, I can work with others as well as independently, I take on my feedback (how I say my lines and my actions), I am able to learn my lines and get things done (making sure we rehearse the things we have planned to and being satisfied with it), I can also fill people in if they missed out on anything important and necessary. However I believe I could work on staying in character at all times, not getting distracted, giving my opinion more and taking my time saying my lines. There would be times when I mess up my lines or I do the wrong thing and I come out of character. Then this leads to me forgetting what part I am working on. To prevent this I need to just go with it and go to the next line I know. It would also help if I took my time a bit as this would also prevent me from getting flustered and coming out of character. When it comes to giving my opinion on things I believe I need to come out of my shell a bit more and say what I honestly think as this could help other people a lot. I think most of the time I either can't think of anything at the time or someone has already said what I would've said, if this happens I should write down my feedback to them and tell them when I can.

Long-term and short-term goals:

My long-term goal is to get into a great drama school (still deciding on which drama school) and build my acting career even more giving myself more experience. However, I would like to see what other options I may have on this journey. As my first choice in this industry is to be acting in mainly theatres. I would like to have other options to fall on in this industry incase I change my mind at any point as I know it is hard to get into acting as a career. I believe I do have the motivation to do amazing things within this industry and I really want to push myself to do amazing things involving acting. My short-term goal is to turn my developments into strengths, especially coming out of character as this will prove that I can handle pressure and distractions. Also, to start pushing myself a lot more to be the best I possibly can. As this will reassure me that I am going to get the best possible grade I can. I am willing to be the best I can and if I keep having a positive mindset I will definitely be able to achieve my goals.

Actions and targets:

My targets are to are to make sure I stay in character at all times. This is my target because it will help me with my characterisation and I'll be able to focus on small details with that character. I will do this by using method acting. As I will use specific props to display key parts of my character. For example as Catherine my prop could've been the material I was using to sew and by having this it could help me avoid distractions and focus on little things such as the projection of my voice. Another target of mine is to be sure that I take my time with saying lines and annunciate my words clearly. As during rehearsals I would rush what I was saying and people weren't able to pick on what I said. I will do this by go over my lines and remind myself to speak from my diaphragm.

Feedback:

As mentioned I got given feedback from my teacher about taking time saying my lines. Also my peers mentioned to me that I should try my best with covering my mistakes. If I mess up line or if something with my props or costume doesn't go according to plan I should either improvise or carry on meaning go to the next line. As I need to remember the audience doesn't know how the production is suppose to go so if one little mistake happening they wouldn't be able to tell if I covered it up. I believe all this feedback is valid and throughout the rehearsal process I have taken it on board and tried to act on it. Which personally I think I have especially with taking my time as it was always one line I would say quickly and mess up. When it got closer to the show I was able to start saying the lines clearly.

Evaluation of progress:

When we first started looking at the script I wasn't sure how we was going to perform it and how the performance would go as I wasn't too sure what was going on until I started reading the script more and started some research. My first thoughts were That I was unsure if people our age would laugh at the comedic parts of the play as they might've not understood what was going on. However, once I got given my role and we figured out how act 1 was gonna be I felt more at ease because once we do act 1 we could start practicing our lines for act 2 and see how it would be set up. Once everyone knew what they were doing for act 1 ( freeze frames and fight scene sequence) as a company we started looking at Stanislavski's 7 step method. This helped build with characterisation and it allowed me to see how my character would speak and move around on stage (as well as still practicing my lines). We then started setting up the stage and made quite a few changes and specific props and object were blocking some of the characters (such as the table and the flower pot, so we made a change to move it behind all the characters so no one was blocked)when we all liked how the stage was set up we started spiking the stage so we knew where to place all the props. Once we had the stage fully set up and we started knowing our lines we had to look a bit deeper and start reading between the lines. Figuring out what we would want when saying the lines. When I was starting to feel comfortable with my character Conniba then mentioned what our costumes would be (a pink apron with a bandana, whilst wearing all black underneath) and this helped build my confidence with my character a lot more. This is because I was able to get into my role of being a middle class wife and mother, as I believe it seemed a lot more natural. During this process we started mapping out everything we would be doing after the script (this consisting of a movement piece, devised work and singing). I think going over the devised pieces after the script was a lot more hard work as somethings didn't work meaning people would have to come up with other ideas and stick with it to make it flow. Once we all figured out what we would do after the script we decided the order of everyone's performance. We had a movement piece straight after our script (showing the relationships between Captain Bluntschli - Nelson, Raina - Frankie, Sergius -Danny and Louka - Kelsey) followed by Fairytale of New York being sung by me and Connor, a devised piece involving Connor and Danny (based on Christmas), another devised piece involving Louka (Kelsey) and Nicola (Orei) also based on Christmas. Then having me and Frankie singing Santa Baby while Kelsey and Orei stole presents off a sleeping Santa (Kajus), lastly finishing the whole performance with All I Want For Christmas sung by me and Frankie while Orei and Kelsey signing to the song and everyone else joining stage to wish everyone a 'Merry Christmas'. Overall I believe throughout the process I have worked hard and tried pushing myself to make sure that I did everything that I needed to. As I have gotten a better understanding on the Stanislavski's method and experienced the process of putting on a show and how sometimes it's going to be stressful in the acting industry but fully worth it to see the outcome.

Appropriate terminology to the discipline/style of performance:

If I had to choose whether our performance was naturalistic or non-naturalistic I would say, due to us using the Stanislavski method, that this performance was naturalistic. This is due to us actors having to be fully involved in our character and use props to help create a more realistic feel with each character. Act 2 was based in the garden of a middle class Bulgarian family. We made sure this was displayed clearly by having a table set up stage, centre (but still visible) with a pot of flowers, a kettle, glass cups and a newspaper. We then had four chairs with two chairs centre stage, one chair down stage left and the other down right. All chairs were turned on an angle so that the audience could see the characters fully as well as it being clear that the characters were talking to one another. We had spiked the stage so that we could place the staging exactly where we all agreed on having it. Making it easier to set up during our transitions as well as everyone having a bit more spatial awareness.

[newmusicradionetwork]

Kenneth Roy “In The Night”

The two main forces performing, Kenneth Roy and Daniel ‘Doctor’ Ryman, are the Singer/Songwriter and Engineer/Producer, respectively. Both are multi-instrumentalists and long-time collaborators. Kenneth Roy has been playing Drums since the age of four, and Keyboard since the age of six. Kenneth’s Father, Lee Roy Berry influenced his son with Country Music/Rhythm & Blues at an early age. Later he took up Vocals and Percussion as additional musical focal points. Kenneth Roy’s Keyboard Mentors have been Dick Hindman and Si Perkoff, while his Drums & Percussion guidance come from Colin Bailey and Bob Belanski. Other musicians that have influenced Kenneth include Band Director Bob Steele, Voice Instructor Emily Gates, and Classical Piano Virtuoso Antonio Iturrioz. Classical Composer James Awahili is also a musical influence. Kenneth holds a Bachelor of Arts Degree from San Francisco State University in Humanities. Currently Kenneth Roy continues to write and record more new songs. These are quality recordings from an expanding Singer/Songwriter & Musician. Daniel ‘Doctor’ Ryman’s musical career spans 40 years of performance, recording, mixing and mastering with artists such as Quincy Jones (The Color Purple), B.B. King, Ray Lynch (Platinum albums), Peter Rowan ‘Texican Badman’ (Jerry Garcia-David Grisman), The Mighty Diamonds, Philippe Wynn (The Spinners) and Earth, Wind & Fire. Backed by world renowned saxophonist Richard Howell (Chaka Khan, Etta James, Carlos Santana, Buddy Guy) and powerful bassist Baron Chase (Marty Balin, Lester Chambers, Tony Williams, Jon Anderson, Clarence Clemens) the hot Duo transforms into a powerful Quartet. The additional juice of Danny Armstrong on trombone and Geechi Taylor on trumpet bring a large-scale Live Band sound that one rarely hears on modern recordings. Live rhythm tracks and ‘old-school’ tracking techniques applied at Daniel ‘Doctor’ Ryman’s Northern California studio (AudioEmissary) give the album a unique feel of both stunning High Definition modern audio clarity with analog warmth. Kenneth Roy’s ‘Chairman’ is available on all major streaming services and all major download stores such as Apple, Amazon, Spotify, Pandora, iHeartRadio and more. Additional Artist/Song Information: Artist Name: Kenneth Roy Song Title: In The Night Publishing: Kenneth Roy Publishing Affiliation: BMI Album Title: In The Night Record Label: Physico Radio Promotion: ADD Promotion Gary Lefkowith (212) 222-5212 hifiadd@aol.com Read the full article

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Kenneth Roy “In The Night” Impacting Radio Now: Radio/Media Download

The two main forces performing, Kenneth Roy and Daniel ‘Doctor’ Ryman, are the Singer/Songwriter and Engineer/Producer, respectively. Both are multi-instrumentalists and long-time collaborators. Kenneth Roy has been playing Drums since the age of four, and Keyboard since the age of six. Kenneth’s Father, Lee Roy Berry influenced his son with Country Music/Rhythm & Blues at an early age. Later he took up Vocals and Percussion as additional musical focal points. Kenneth Roy’s Keyboard Mentors have been Dick Hindman and Si Perkoff, while his Drums & Percussion guidance come from Colin Bailey and Bob Belanski. Other musicians that have influenced Kenneth include Band Director Bob Steele, Voice Instructor Emily Gates, and Classical Piano Virtuoso Antonio Iturrioz. Classical Composer James Awahili is also a musical influence. Kenneth holds a Bachelor of Arts Degree from San Francisco State University in Humanities. Currently Kenneth Roy continues to write and record more new songs. These are quality recordings from an expanding Singer/Songwriter & Musician. Daniel ‘Doctor’ Ryman’s musical career spans 40 years of performance, recording, mixing and mastering with artists such as Quincy Jones (The Color Purple), B.B. King, Ray Lynch (Platinum albums), Peter Rowan ‘Texican Badman’ (Jerry Garcia-David Grisman), The Mighty Diamonds, Philippe Wynn (The Spinners) and Earth, Wind & Fire. Backed by world renowned saxophonist Richard Howell (Chaka Khan, Etta James, Carlos Santana, Buddy Read the full article