Sunday, December 6, 2015

Australian Theatre Assessment - ADDENDUM

Alright so it looks like I needed to mention things like "directorial skills" and "research", neither of which I really mentioned at all in my previous entries at all.

So, to hopefully remedy that, let me instead provide a link to our group's Google Doc - which essentially served those purposes for us, working better as a shared space for that sort of stuff than individual reflections. I hope that this satisfies those requirements, because it would be silly to go back and edit each of my previous entries just to copy over what's already written in there.

--Yes this is all going to go fine what are you even suggesting that it won't be perfect,
Alexander

Saturday, December 5, 2015

FINAL WEEK PANIC MODE ENGAGE - Australian Theatre Assessment, Week 4 (T4W9)

AAAAAAAA IT'S ALMOST DUE AAAAAAAA

So yeah, this is our final week of working on this assessment. In fact, as I write this it is approximately 4 o'clock on Sunday afternoon and this whole thing is due in just a little over twelve hours.

What a comforting thought. Why did I think that to myself.

So, things we did. Something I missed out on in last weeks journal because I decided to be a good boy and write it up on Friday evening, and also because I forgot some stuff, was that we recorded and edited a few voice-overs on the Friday and over the weekend of last week. We will be using these for various monologues and such, often with some form of loose justification for them - such as the shadow puppet scene. Anyway, those have really helped lighten the burden on us to learn lines, which has been really helpful and I'm sure won't at all be problematic on the day.

SURE. LET'S JUST ENTRUST THE ENTIRE FLOW OF OUR PERFORMANCE TO A BUNCH OF AUTOMATED RECORDINGS IN A PLAYLIST, CONTROLLED BY SOMEONE WHO I'M PRETTY SURE HAS NEVER EVEN HEARD THEM LET ALONE KNOWS WHERE THEY SHOULD BE IN OUR PERFORMANCE. IT'LL BE FINE.

...I'm sorry, I shouldn't have yelled like that. I'm a little nervous about tomorrow. And excited.

Nervicited.
So aside from that, we also rehearsed. A lot. Over and over. And that is a good thing, don't get me wrong. But what it means is that there's really nothing too interesting to put here, because the rehearsal process didn't really have any interesting techniques, or moments of revelation and sudden clarity, or anything like that. We just... rehearsed. And that was that.

So... fluff?

Yes, fluff. Turns out Neighborhood Neighbourhood Watch was written by Lally Katz. Why do I mention that, you ask? Silly you. You should know by now that it was for the sole purpose of being able to add a loosely related cat picture.

Katz => Cats. See. It's related.
And as you can tell, I'm really, seriously, out of things to say here. It seems like all things considered, tomorrow's going to turn out fairly well barring some horrible last-minute disaster involving Kate's laptop, three birds and a jar of peanut butter.

Yes, that is oddly specific. No, there's no reason for it.

--Always calm and collected and AAAAAAAA IT'S DUE TOMORROW AAAAAAAA,
Alexander

Friday, November 27, 2015

SHADOW CATHERINE IS A GIANTESS - Australian Theatre Assessment, Week 3 (T4W8)

Shadow puppets this week. Lots and lots of shadow puppets. I'm so glad I have other people in my group who are good at making shadow puppets because if I was the one in charge of that then every single puppet would come out looking like a horrible monstrosity formed of some unidentifiable mass of dogs merged into one creature.

Endogeny
Yes, a lot like that, actually.
So yeah, we're doing a shadow puppet sequence for the Mama Mia/Ana's Abortion scene. A rather lengthy shadow puppet scene. A very fiddly, rather lengthy shadow puppet scene. One that we can only hope works out in the end because we haven't even really had a chance to rehearse it all that much. Ehh, whatever, it'll be fine, the puppets look good at least which is a step up from anything I could have done.

We also did a lot more blocking this week. We blocked out all four of our scenes! Admittedly, in Doctor Vhite we barely move at all and Hiding Sandy is basically just stolen (heh) from an earlier exercise we did a few weeks ago, but aside from that it's all new awesome engaging blocking!

Okay, Mama Mia/Ana's Abortion isn't much to look at either, but Racist Insults is really cool!

...I mean, Racist Insults are really cool!

...I mean...

...Dammit.

Anyway, we had two vertical boards forming the sides of the back of the stage (does that make objective sense? It makes sense to me), and as the scene progresses Kate and I actually push each of them inward toward the centre of the stage - where Karen, playing Jimmy, is - in order to visually convey Jimmy's metaphorical confinement via the issue of racism. Also to physically confine him. Because it looks cool.

...I would right now launch into a stream-of-consciousness reflection on whether male characters played by female actors should be addressed using masculine or feminine pronouns, or even gender-neutral ones, but I'll spare you the pain. I'm not quite that cruel.

We also planned out each of our seminar sections and finalised the script! Yay! Once again, not really much I can mention here. Kate is taking the introduction and Doctor Vhite, Karen is handling both Racist Insults and Hiding Sandy, and yours truly has tackled Mama Mia/Ana's Abortion and the conclusion.

That scene really needs a shorter name.

--What if a crazed Communist went back in time and repeatedly stopped the event that led you and your friends to your respective destinies, and by doing so doomed the entire world to multiple apocalypses of varying degrees of awesomeness, because they didn't have any friends,
Alexander

Friday, November 20, 2015

KATE ALL ALONE - Australian Theatre Assessment, Week 2 (T4W7)

No single-day cop-outs this time! Five whole days of work this week!

Except for when we didn't have Drama.

And when I was away.

Yeah, except for those days.

So this week we started by organising a shared Google Doc for this task, which has honestly been really useful. It's allowed us to brainstorm ideas and such far more effectively, it's allowed us to link other important documents that we may need (currently just the assessment sheet itself, but I think we're planning to add a separate document containing the scripts for the scenes we're performing), and it's allowed us to communicate with each other when some of us are away. Looking at you, me.

So yeah, Kate got left all alone for at least one day, and instead of taking that time to curl up and ponder my isolation as I would have done she instead decided to be a great group member and think up some ideas for potential scenes we could perform, as well as for the direction of each of those scenes. So, well done Kate! Your effort has been greatly appreciated!

Then Kate and I were by ourselves and we certainly... talked. About... things. Yes. Not necessarily things related to the assessment, but definitely things.

Like, hidden revolving bookshelf door things.

Okay, so I'm exaggerating a bit. We actually did get a fair bit done that lesson, it's just that hidden revolving bookshelf doors stand out as the highlight moment of that hour. Aside from that though, we had a few philosophical discussions about the source of Ana's isolation, and how she seems to be trying to convince Catherine to be isolated with her - kind of like an "alone together" thing.

Also this week we started blocking a few scenes. Like, that's it. There's not really anything I can say on that. We decided the general shape of the stage for each scene, and that we were going to use the giant black box as a big foreboding desk. But, that's it. Not really anything of interest there.

--What kind of a name is Countess Coloratura, like, who would name their daughter Coloratura, like, I know names in Equestria are usually odd-sounding and weirdly prescient with regards to destiny but seriously Coloratura sounds even sillier than most of those,
Alexander

Thursday, November 12, 2015

YEAR TWELVE WHAT - Australian Theatre Assessment, Week 1 (T4W6)

So this is our first assessment of Year 12, I guess.

I'm going to be doing weekly journals for this assessment, as I've been doing more frequently as of recent times. Just generally much easier to tackle. I mention this because this particular week, there was only a single class spent working on this assignment anyway.

So, moving on to the actual journal portion of this journal. Since this was entirely our first lesson with the assignment, the hour was spent mostly doing that kind of general coming-to-grips kind of stuff. We began by examining the sheet, taking a look at exactly what we needed to do and what the requirements were. Basically, we need to create a 'seminar' of about 12 minutes in length, incorporating 2 scenes from each of our 2 texts - Neighborhood Neighbourhood (it's an Australian text, remember) Watch and Stolen - discussing how Epic and Domestic issues were presented in each of them.

Complicated enough?

Karen and I...
Actually, it's worth mentioning my group members at this point. (I apologise for the stream-of-consciousness nature of these journals, but it helps me write them and also will help me read back through them when it comes time to do that for study.) So. My group is comprised of myself, Karen Nelapati and Kate MacLeod. Only three people, out of our class of eight. Something about preparing us for uneven numbers in GP groups or something. Anyway.
Kate was away on this particular week (and thus the entire 'week' of this journal), so Karen and I thought about how exactly to define Epic and Domestic issues - not just for the audience, but for ourselves as well. The concept we ended up with is that Epic Issues are, for lack of a better word (which certainly exists, but eludes me at this current moment), the large-scale issues; Domestic Issues are the smaller-scale results of these Epic issues.

Wow, this actually feels like a remarkably substantial post for a single hour of work. Don't get too excited though, it seems like a lot of description goes to the background information on any assessment so don't expect five times this much for each subsequent week.

--Not entirely sure how I got here,
Alexander

Saturday, October 18, 2014

Making da Magics - Political Theatre Production

This will likely be a rather lengthy post, seeing as it has to incorporate multiple hours' worth of ideas, teamwork and above all, practice; hopefully it won't be too daunting though.

It all started on a dark and stormy night. Or, you know, a kind of average afternoon. It was time for Drama. We filed in, sat down and were almost immediately bombarded with our assignment for the unit - a performance, logbooks PLUS a bonus essay! Actually, the essay confuses me. It's apparently an "in-class essay", but we've already been given the scaffold and the question and told that we can fill these out ahead of time, bring them in and copy them straight down to hand in. So, it's a take-home essay that we have to rewrite in-class. It's a little confusing to me.

Tangents aside, the first step in any group task is to get a group, and this seems like a good place to mention a trend I've been noticing recently. Whenever the need for a group task arises, certain people are avoided and kept out of groups (sometimes for good reason, sometimes not). And recently, I have become one of those people. I'm not sure why, or indeed if there even is a reason for it, but it can be particularly noticeable in Drama when we're told to work in groups of 4-5 and I end up working on my own because the groups of 4 were "already full".
So, this happened again. In fact the group including Liam and Jack (because those two always have to work together for some reason, despite making reverse-progress two-thirds of the time they're together) actually asked me if I could find someone else and ask them to be in their group. The nerve.
Anyway, as it turned out, there were enough of us (all people generally considered to be quite good performers, actually) that had been thoroughly rejected to form our own group. Which we did, understandably.

The next step was to decide on what the subject of our performance was going to be. Seeing as our group did already have a gender minority (one boy - me - and four girls), we decided that it would make sense to discuss sexism in our performance. The way we did that, though, was what I find particularly interesting. Although we did not set out with such an intention, as our performance developed it became clear that it was less about overt sexism and more about gender stereotypes and their enforcement (often unthinking) by others. I guess you could say that resonates with me rather a bit given recent developments in my life (for clarification, see signature image/s).
So once we got that out of the way, the next step was to find statistics to present to the audience and provoke thought and consideration. Our group did an admirable job finding statistics, sources for statistics, compilations of statistics, analyses of statistics, and pretty much every other thing you can think of with "statistics" in it. Which we then proceeded to not use in our performance. At any point. Good job, team.
 

Then, the casting and the stage/set design. We did these simultaneously as they impacted each other a bit, as will be explained in a sentence or two's time. Some aspects of this were pretty simple (such as casting me in the lead male role, because, you know, I was the only actual male in the group), but others required a little more thought. The final cast we decided upon consisted of these people in these roles:
- Alex M: Male Lead (Peter)
- Kate G: Female Lead (Wendy. Yes, this is a Peter Pan reference. No, we didn't expect anyone to get it.)
- Emily H, Ellen O'S, Tarryn R: Secondary Roles, Props etc.
This is where the simultaneous casting/stage design came into play. We decided to divide the stage into two halves - a 'boy half' and a 'girl half' and create a physical barrier between the two (even if it was just a strip of masking tape, but it got the point across). As such, we had to attempt to keep all cast members (including secondaries) on one side and one side only, and this factored into our casting decisions.


Finally, it was time to start practicing. Because we didn't have a solid script as such, a lot of the blocking was improvised, at least to begin with. At this stage, we were about 3/4 (or more) of the way through our assessment and had less than a week left to get it done.
Then, Oscar.
I don't mean to complain about Oscar specifically. He can be quite a good performer, actually (as he proved rather well in our final performance). It's more just the issue of having to take something we've already spent weeks working on and add roles for a whole new person and then re-rehearse those scenes with only a week left to do so.
Now I'm going to rant about Liam and Jack's group again for a minute, so bear with me.
We were told that the reason that we got Oscar (he hadn't actually had a group up to that point, so obviously he needed somewhere to go) was that Liam's group was originally asked to take him, but had said something along the lines of "No, we had him last time. Give him to someone else instead."
Now, I was in their group for the last assessment. We didn't have Oscar in our group. So not only were they refusing to accommodate Oscar and treating him as a burden (presumably while he was right there), but they also straight-out lied and said they had had "the burden" last time and so refused to take him in this time.
Bear in mind that this is all based on the evidence that I have, so it may not be even remotely accurate. The group may have been referring to a separate time (that wasn't an assessment) when they took Oscar in. It's also undoubtedly clouded by my own personal bias. But I still feel that however one looks at it, that kind of behaviour is still wrong.

Okay, rant over. After working out a role for Oscar (he also functioned as props and secondary characters, although his most common role seemed to be that of a table for some reason), we actually rehearsed the production. We didn't have enough time to rehearse fully in-class, so we set up another appointment in which to rehearse. Unfortunately, Oscar and Tarryn didn't receive the communications for that so neither of them showed up for that rehearsal. However, those of us that had known about it worked out where they would be and what they would do. In fact, Oscar and Tarryn both did remarkably well considering they weren't able to make it to our largest rehearsal.
I will also admit to having missed a smaller rehearsal after that - I was sent an email explaining that we were to have a rehearsal before school on Monday and didn't actually check my email until around noon that day - but I don't think I missed too much (I didn't feel lost by anything the next time we rehearsed after that, at least).

And then, it was eventually time to perform. The production went surprisingly well, all things considered ('all things' being lack of practice; a song that half of us didn't know the words to, let alone the actions; and Oscar). We were particularly complimented on our use of the halved stage - many members of the audience found it clever, innovative and above all effective.
I felt that we all worked together well, and I don't believe anybody forgot their lines at any point. The closest we came to a real problem was in Scene 1, when the "babies" (or babbies, if you prefer) were thrown and were meant to be caught. Unfortunately, both babbies were thrown too high, rebounded off the roof and hit the floor rather than being safely caught. As you can imagine, this would not normally be healthy for a newborn.
Again, I feel like one of the biggest shortcomings in terms of our performance was the lack of statistics. The other performance presented during this lesson (Liam's group) had a lot of statistics. Possibly too much. That's beside the point though, what I'm really trying to say is that the statistics did lend a little more impact to their message and that our group could probably have done with some of that.

Well, I guess that's the end of my production documentation/reflection. Was there too much Photo Finish? Not enough? Just the right amount? Let me know, I like feedback.

Saturday, October 11, 2014

11/8/14

We began the day by watching a TED Talk by Improv Everywhere, detailing some of their ventures into Invisible Theatre. One of the performances that stuck with me, for sheer comedic value, was the one in which a group of around 20-30 people walked around a single Best Buy store wearing khaki pants and blue polo shirts. Some of the other performances shown did, however, convey the purpose of Invisible Theatre somewhat more accurately - to spark conversations among people. The idea is that, after the performers have finished, some stay behind pretending to be bystanders, and provoke conversation about the event and what can/should be done about it.

Next, we did some reading about Forum Theatre. The idea behind this one is that a play is shown to an audience, detailing some kind of oppression. The audience is then asked to volunteer to take the place of one of the play's characters (usually the victim) and do their best to 'do something' about the oppression without breaking character.
We followed this up with an example of Forum Theatre in practice: A play was put on for NYC residents detailing a homeless (presumably) man's fight for custody of his child. Of course, the original play did not end well for the man; that is, after all, the point of Forum. Members of the audience were then asked to take over the role of the man and attempt to obtain custody of the child. A few volunteers attempted to simply argue with the judge, while others actually obtained help from others and gathered evidence to prove their capability.

To kick off our practical activities, we partook in an exercise known as Sticky Paper. Groups of four or so people were given three pieces of paper (or at least one piece less than the number in the group) and these pieces of paper had to be held on one particular group member by the others in the group. This becomes slowly more difficult as more limitations are applied, such as which body parts the paper can be held on or which parts the paper can be held on with.

Finally, we were (in groups again) given a few headlines to choose from and were to create a freeze based on a headline of our choice. My group chose "Teenagers forced to work for peanuts", presumably for the quirkiness of the headline itself.
Following this, we then expanded upon this freeze to create three scenes on the issue. The resulting play that my group created was surprisingly decent, actually, effectively presenting the issue and building up to a conflict and a resolution (although not a happy one).

Okay, this one's permanent, I promise.