Friday, 11 October 2013

Performance Evaluation

Physical theatre Performance Evaluation


Today we performed our physical theatre pieces in front of the whole strand and various theatre teachers. EVERYONES WORK WAS AMAZING! So many people in the strand did really well today. 



*SNAPS FOR THEATRE*



Overall, in my opinion our piece went extremely well, and I am truly proud of what we achieved today. I believe this success was reflected in our BRIT grade 7/10. Normally I find that before any performance I get extremely nervous and start losing confidence in my work, however today I was very calm and collected before our performance. I think this is because the right amount of rehearsal time allowed me to really understand the foundations of our piece and to know every single detail and its significance within the performance. No mistakes were made because of our extensive rehearsals and all of the movement or sections of our piece flowed really well from one to another. Throughout our piece I felt very much like I was "living in the moment" and experiencing the emotions evoked within our piece similarly if not more than our audience. The poetical elements of our piece really brought our work to life and I think our decision to not include any music or backing track to our piece payed off. It allowed the poetry to speak for itself. The only things I can think of for us improving on todays performance are: 

  • More  organic improvised moments
  • More clarity in transitions
  • consistently maintained natural fluidity
I am very happy with the way that our performance went today and look forward to adapting it and creating a whole group piece in the coming weeks. 

Monday, 7 October 2013

Rehearsal notes #5

Today rehearsed all the various sections in our piece, and began to knit them together and iron out our transitions. 

The new updated chronological order of our piece is as follows:

Paper airplanes 
"faces to the foe"
"Charlie team"
Soldier crawl
Explosions
Gas attack
Remembrance
mother sequence 

We then ran through the whole piece over and over and OVER to ensure that we both understood and knew the piece backwards and forwards and inside out. I am very happy with the way today's rehearsal went and i feel like today was the most productive and efficient rehearsal that we have had yet. No distractions, lots of hard work, commitment and energy meant that today we finally got to that stage where our performance piece is ready to be performed and tweaks or edits and no longer necessary. All we can do now is keep running through the movement whilst trying to keep the emotional element of the piece new and different and refreshed every time we perform the piece. 

What went well: Lots of material was refined and lots of run throughs took place which i am very happy about. 

How we can improve: Even more energy and a sense of flow is required before our final performance.

Friday, 4 October 2013

Rehearsal notes #4

REHEARSAL 4


Today we created and rehearsed the gas attack section of our piece.

Myself and Laure began with a warm up, and then ran through all the different sections of our piece. this really helped me as I seemed to have forgotten a few things here and there. We also smoothed out and refined the airplane section of our piece to make it more clear and readable to our audience. We also watched some videos on youtube to help inform our understanding of gas attacks.

Here are are small selection of things we looked at:







We wanted to include some religious references in our piece so therefore we combined the experimental movement we came up with in today's rehearsal with the clearest and simplest physical representation of religion: The cross.

In order to create a transition between our previous movement and the gas attack section, we had the idea that the soldier whom is about to be gassed (me) can be physically preparing for war.

Our thought process behind this was that a soldier dressing, and preparing themselves for war could also symbolically represent a young man preparing himself to die. We want our audience to subliminally anticipate the soldier's death.

What went well: Lots of improvised material was created in today's rehearsal!

How we can improve: Next rehearsal I will ensure that myself and laure do not distracted from our work by other people. 


Sunday, 29 September 2013

Rehersal notes #3


Today we created and rehearsed the paper airplane section of our piece. This was originally inspired by the war poem 'To Tony' that laure found as stimulus. The poem is in the form of a letter to a lover in the war, and also has lots of visually evocative stanzas and lines that are ideal for and improv exploration. We developed this into a small section where both used and laure are facing away from one another writing a letter. We then write the words "courage" and "faith" on our pieces of paper and proceed to fold and make paper airplanes and play with them like children. This was created because we want our final piece to have a clear narrative that tells a story of growth and contains a story emotional journey within it. The child like nature of this section feels like it should be the beginning of our piece so that we can grow and show a clear journey and destination in the piece. Also we discussed in great detail the fact that children 'playing with toys' was symbolic of the young naive soldiers of the First World War using their rifles as if they were toys. This discussion was very effective for me because once we had added another layer of interpretation to our idea I found that I could connect with the work more emotionally. This deeper emotional connection with the work allowed myself and Laure to work more physically and efficiently. 

We also went over and ironed out what we created in our last rehearsal today.

What went well: I feel a lot more emotionally connected to our work now I understand what we're doing, and WHY were doing it. 


How we can improve: More feasible material needs to be created next rehearsal. Less improve. 

Saturday, 21 September 2013

Rehearsal notes #2

Today after a long and detailed discussion we created and rehearsed the standoff section of our piece. Within this movement section of our piece we both start back to back and then crawl backwards into a laying down at attention position. We then move towards each other three times. This was crated and inspired by our discussion about my own personal time at army cadets. We talked about what it was like, and the exercises and workshops that I did whilst at army cadets. I then proceeded to show and demonstrate to Laure some of the various things I have learnt through my army cadet training. This conversation then evolved and developed into a spontaneous physical improvisation. This was effective as it gave us a chance to take a small idea and run with it. Through this we were able to expand on our initial ideas and develop new ideas. 

What went well: I have a much better understanding of our piece and where we want to go with it. 

How we can improve: less talking, more moving! 

We also decided on what stanzas of our war poems we actually want to use as text in out piece. We were looking for evocative stanzas of poetry that are rich in imagery and passion. We wanted lines of poetry that people would remember, that would ring in our audiences ears after our performance. But most of all we were looking for text that inspired us to create a physical performance piece. 

AND THE WINNERS ARE:

The wheels lurched over sprawled dead
But pained them not, though their bones crunched,
Their shut mouths made no moan,
They lie there huddled, friend and foeman,
Man born of man, and born of woman,
And shells go crying over them
From night till night and now.

The air is loud with death,
The dark air spurts with fire,
The explosions ceaseless are.

As the stars that shall be bright when we are dust,
Moving in marches upon the heavenly plain,
As the stars that are starry in the time of our darkness,
To the end, to the end, they remain.

               
Greybeard philosophy has sought in books         
    And argument this truth,         
That man is greater than his pain, but you           
    Have learnt it in your youth.   

They went with songs to the battle, they were young,
Straight of limb, true of eye, steady and aglow.
They were staunch to the end against odds uncounted,
They fell with their faces to the foe.

Thursday, 19 September 2013

Music

After looking at the following songs we decided we don't want to use any backing music, in case it takes away from the poetical overtones of our piece.


Tuesday, 17 September 2013

The poems

DEAD MAN'S DUMP by ISAAC ROSENBERG


The plunging limbers over the shattered track
Racketed with their rusty freight,
Stuck out like many crowns of thorns,
And the rusty stakes like sceptres old
To stay the flood of brutish men
Upon our brothers dear.


The wheels lurched over sprawled dead
But pained them not, though their bones crunched,
Their shut mouths made no moan,
They lie there huddled, friend and foeman,
Man born of man, and born of woman,
And shells go crying over them
From night till night and now.


Earth has waited for them,
All the time of their growth
Fretting for their decay:
Now she has them at last!
In the strength of their strength
Suspended---stopped and held.


What fierce imaginings their dark souls lit
Earth! have they gone into you?
Somewhere they must have gone,
And flung on your hard back
Is their soul's sack,
Emptied of God-ancestralled essences.
Who hurled them out? Who hurled?


None saw their spirits' shadow shake the grass,
Or stood aside for the half used life to pass
Out of those doomed nostrils and the doomed mouth,
When the swift iron burning bee
Drained the wild honey of their youth.


What of us, who flung on the shrieking pyre,
Walk, our usual thoughts untouched,
Our lucky limbs as on ichor fed,
Immortal seeming ever?
Perhaps when the flames beat loud on us,
A fear may choke in our veins
And the startled blood may stop.


The air is loud with death,
The dark air spurts with fire,
The explosions ceaseless are.


Timelessly now, some minutes past,
These dead strode time with vigorous life,
Till the shrapnel called 'an end!'
But not to all. In bleeding pangs
Some borne on stretchers dreamed of home,
Dear things, war-blotted from their hearts.


A man's brains splattered on
A stretcher-bearer's face;
His shook shoulders slipped their load,
But when they bent to look again
The drowning soul was sunk too deep
For human tenderness.


They left this dead with the older dead,
Stretched at the cross roads.


Burnt black by strange decay
Their sinister faces lie
The lid over each eye,
The grass and coloured clay
More motion have than they,
Joined to the great sunk silences.


Here is one not long dead;
His dark hearing caught our far wheels,
And the choked soul stretched weak hands
To reach the living word the far wheels said,
The blood-dazed intelligence beating for light,
Crying through the suspense of the far torturing wheels
Swift for the end to break,
Or the wheels to break,
Cried as the tide of the world broke over his sight.


Will they come? Will they ever come?
Even as the mixed hoofs of the mules,
The quivering-bellied mules,
And the rushing wheels all mixed
With his tortured upturned sight,
So we crashed round the bend,
We heard his weak scream,
We heard his very last sound,
And our wheels grazed his dead face.



 TO A SOLDIER IN HOSPITAL by WINIFRED M. LETTS


COURAGE came to you with your boyhood’s grace         
    Of ardent life and limb.            
Each day new dangers steeled you to the test, 
    To ride, to climb, to swim.       
Your hot blood taught you carelessness of death                     
        With every breath. 
               
So when you went to play another game             
    You could not but be brave:   
An Empire’s team, a rougher football field,         
    The end—perhaps your grave.                     
What matter? On the winning of a goal 
        You staked your soul.            
               
Yes, you wore courage as you wore your youth
    With carelessness and joy.     
But in what Spartan school of discipline        
    Did you get patience, boy?     
How did you learn to bear this long-drawn pain
        And not complain? 
               
Restless with throbbing hopes, with thwarted aims,       
    Impulsive as a colt,             
How do you lie here month by weary month     
    Helpless, and not revolt?         
What joy can these monotonous days afford     
        Here in a ward?       
               
Yet you are merry as the birds in spring,                       
    Or feign the gaiety,
Lest those who dress and tend your wound each day    
    Should guess the agony.          
Lest they should suffer—this the only fear         
        You let draw near.          
               
Greybeard philosophy has sought in books         
    And argument this truth,         
That man is greater than his pain, but you           
    Have learnt it in your youth.   
You know the wisdom taught by Calvary                      
        At twenty-three.    
               
Death would have found you brave, but braver still        
    You face each lagging day,      
A merry Stoic, patient, chivalrous,           
    Divinely kind and gay.                        40
You bear your knowledge lightly, graduate         
        Of unkind Fate.        
               
Careless philosopher, the first to laugh,
    The latest to complain,             
Unmindful that you teach, you taught me this           
    In your long fight with pain:    
Since God made man so good—here stands my creed—              
        God’s good indeed.               




THE WIND ON THE DOWNS by MARIAN ALLEN
I like to think of you as brown and tall,
As strong and living as you used to be,
In khaki tunic, Sam Brown belt and all,
And standing there and laughing down at me.
Because they tell me, dear, that you are dead,
Because I can no longer see your face,
You have not died, it is not true, instead,
You seek adventure some other place.
I hear you laughing as you used to,
Yet loving all the things I think of you;
And knowing you are happy, should I grieve?
You follow and are watchful where I go;
How should you leave me, having loved me so?
We walked along the towpath, you and I,
Beside the sluggish-moving, still canal;
It seemed impossible that you should die;
I think of you the same and always shall.
We thought of many things and spoke of few,
And life lay all uncertainly before,
And now I walk alone and think of you,
And wonder what new kingdoms you explore.
Over the railway line, across the grass,
While up above the golden wings are spread,
Flying, ever flying overhead,
Here still I see you khaki figure pass,
And when I leave meadow, almost wait,
That you should open first the wooden gate.



FOR THE FALLEN by LAURENCE BINYON


With proud thanksgiving, a mother for her children,
England mourns for her dead across the sea.
Flesh of her flesh they were, spirit of spirit,
Fallen in the cause of the free.

Solemn the drums thrill: Death august and royal
Sings sorrow up into immortal spheres.
There is music in the midst of desolation
And a glory that shines upon our tears.

They went with songs to the battle, they were young,
Straight of limb, true of eye, steady and aglow.
They were staunch to the end against odds uncounted,
They fell with their faces to the foe.

They shall grow not old, as we that are left grow old;
Age shall not weary them, nor the years condemn.
At the going down of the sun and in the morning
We will remember them.

They mingle not with laughing comrades again;
They sit no more at familiar tables of home;
They have no lot in our labour of the day-time;
They sleep beyond England's foam.

But where our desires are and our hopes profound,
Felt as a well-spring that is hidden from sight,
To the innermost heart of their own land they are known
As the stars are known to the Night;

As the stars that shall be bright when we are dust,
Moving in marches upon the heavenly plain,
As the stars that are starry in the time of our darkness,
To the end, to the end, they remain.

NO MAN’S LAND by JAMES H. KNIGHT-ADKIN

NO Man’s Land is an eerie sight
At early dawn in the pale gray light.        
Never a house and never a hedge          
In No Man’s Land from edge to edge,   
And never a living soul walks there                 
To taste the fresh of the morning air;—
Only some lumps of rotting clay,              
That were friends or foemen yesterday.              

What are the bounds of No Man’s Land?             
You can see them clearly on either hand,                     
A mound of rag-bags gray in the sun,     
Or a furrow of brown where the earthworks run             
From the eastern hills to the western sea,          
Through field or forest o’er river and lea;             
No man may pass them, but aim you well                    
And Death rides across on the bullet or shell.     

But No Man’s Land is a goblin sight         
When patrols crawl over at dead o’ night;            
Boche or British, Belgian or French,         
You dice with death when you cross the trench.                       
When the “rapid,” like fireflies in the dark,          
Flits down the parapet spark by spark,  
And you drop for cover to keep your head          
With your face on the breast of the four months’ dead.               

The man who ranges in No Man’s Land         
Is dogged by the shadows on either hand           
When the star-shell’s flare, as it bursts o’erhead,            
Scares the gray rats that feed on the dead,         
And the bursting bomb or the bayonet-snatch  
May answer the click of your safety-catch,                  
For the lone patrol, with his life in his hand,        

Is hunting for blood in No Man’s Land.