Section 1
A review of progress and achievement through parts 1 and 2 of the course:
This section provides you with an opportunity to reflect on, review and summarize your
progress and achievements through the first 11 units, and the knowledge, skills and
understanding you have acquired. What you know now, and what it means to you, compared
with what you knew and could do before you started the course, and how this has influenced
your choice of discipline or disciplines and your project proposal. It also provides an
opportunity for you to explain your reasons for choosing a particular discipline or disciplines
and to outline both your immediate and longer-term aspirations (150 words)
This section provides you with an opportunity to reflect on, review and summarize your
progress and achievements through the first 11 units, and the knowledge, skills and
understanding you have acquired. What you know now, and what it means to you, compared
with what you knew and could do before you started the course, and how this has influenced
your choice of discipline or disciplines and your project proposal. It also provides an
opportunity for you to explain your reasons for choosing a particular discipline or disciplines
and to outline both your immediate and longer-term aspirations (150 words)
During the first year I picked up a multitude of skills. To start of with I was able to build up my character analysing and researching skills while working on Romeo and Juliet due to the unfamiliar speech pattern. I was also able to pick up the skill of methodology which I was able to pick up while we were working “Three Sisters” by Chekhov, during this time we were basing our character/world creation around the teachings of the practitioner Stanislavski. I also learned how to be flexible with the direction of a certain piece, for example during the Romeo and Juliet piece I had to be very flexible because I had to do things that I hadn’t done before (such as stage kissing). The main things I’ve learnt throughout these two years is the importance of punctuality and dependability. I have learnt that it is very important to be punctual and dependable because if parts of the cast don’t come to rehearsals or are late to technical runs, it is very hard for the rest of the cast to put on a good show.
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Section 2
Project concept:
(Approx 200 words) This section provides an opportunity for you to clearly explain the concept
and aims of your project, production or performance, the research and ideas that will support
its development, what you anticipate producing, the levels and types of resources that you
will need and an indication of the form in which you will complete and present your final
realisation within the allocated timescale. This might include an indication of when and how
you will use studios, equipment and other resources, how you will make use of tutorial and
peer feedback and where you will incorporate independent study.
and aims of your project, production or performance, the research and ideas that will support
its development, what you anticipate producing, the levels and types of resources that you
will need and an indication of the form in which you will complete and present your final
realisation within the allocated timescale. This might include an indication of when and how
you will use studios, equipment and other resources, how you will make use of tutorial and
peer feedback and where you will incorporate independent study.
For my final piece, I have chosen to choose a play that I can relate to. That is why I chose to do the first act of the play Misty by Arinzé Kene. The play tells the story of a black playwright living in Hackney by the name of Arinzé. During this part of the play we get glimpses into his life and the life of the character he has created (Virus). Now the virus is portrayed as a typical black teen growing up in London. Throughout the scenes Arinzé is ridiculed because of his choices about what goes on in his story, and by the end we find out that the story isn’t his. Since this play is a one man show I decided to keep everything quite minimalistic and real (basically mashing together classical and realism types of theatre). What this means for me is that my show will mainly be based on my acting,emotional memory and spatial awareness skills. This is because I want the audience to relate to my characters, thus allowing them to empathise with my characters. I don’t want to use things like freeze frames or physical theatre because it will remind the audience that it’s just a play. I want people to leave thinking about the subjects of the play, this includes:
I want people to realise that the sad truth of this world is that we aren’t equal (skin colour wise) and maybe push them to do something helpful with these subjects.
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Section 3
Evaluation:
(approx 150 words) This section provides an opportunity for you to explain how you will reflect
on and evaluate your work, as both an ongoing activity and at the conclusion of your project.
You should describe how you intend to record your decision-making and how you will document
changes to your ideas as your work progresses. The evaluation should be referenced to your stated
aims and be reflective and analytical rather than a description of actions completed. When working in
collaboration with others you should comment on how this may impact either positively or negatively and
steps you can take to minimise disruption in your own progress.
(approx 150 words) This section provides an opportunity for you to explain how you will reflect
on and evaluate your work, as both an ongoing activity and at the conclusion of your project.
You should describe how you intend to record your decision-making and how you will document
changes to your ideas as your work progresses. The evaluation should be referenced to your stated
aims and be reflective and analytical rather than a description of actions completed. When working in
collaboration with others you should comment on how this may impact either positively or negatively and
steps you can take to minimise disruption in your own progress.
To evaluate my piece I plan to firstly self reflect. This means that I will be writing down everything that I choose to do and why I choose to do it and also evaluate how it will contribute to the effectiveness of my piece. I will do this by annotating the process of my character creation in my script. I will also be describing every change I make in rehearsals through a diary. In this diary I will evaluate why the changes would be more effective in my play. I will also include teacher and peer assessments in my diary so that I can get an audience point of view and change what i need to to increase the quality of my final piece. To finish off my evaluating I would give a self evaluation of my time rehersing for my final performance and evaluate my performance itself. To do this I will get audience feedback on what they thought went well and what didn’t. This will help me evaluate my choices over the course of Unit 12.
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Bibliography (Harvard Format):
This section provides an opportunity to record the initial research sources, both primary and secondary, that you intend to use.
Your sources of research should be as wide as possible and could include libraries, galleries, books, magazines, films, computer
games, websites, blogs, social media, radio programmes, archive material etc. Where appropriate, you should use the Harvard system of referencing.
The bibliography should be continuously updated as the project progresses.
Your sources of research should be as wide as possible and could include libraries, galleries, books, magazines, films, computer
games, websites, blogs, social media, radio programmes, archive material etc. Where appropriate, you should use the Harvard system of referencing.
The bibliography should be continuously updated as the project progresses.
X 6 (minimum)
Ziyad, H., (2017), BLACK PEOPLE CANNOT BE GUILTY OF CULTURAL APPROPRIATION. PERIOD., available at:
williams, H., (2018), ‘Misty’ review:Inventive, subversive, slightly surreal show about the stories black men are allowed to tell,
from Arinzé Kene, Available at:
Kene, A., (2018), Arinzé Kene on Misty: Don’t tell me I’ve written a ‘black play’, Available at:
Patterson, O., Fosse, E., (2016), The cultural matrix: Understanding black youth
ReachOut, (2019), The Big Issues: Why cultural appropriation isn't cool, available at: https://au.reachout.com/articles/why-cultural-appropriation-isnt-cool |
Project action plan and timetable:
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Thi This section provides you with an opportunity to outline your planning and organisation over
a period of weeks and the activities you will need to carry out in order to successfully complete your project in the agreed time frame. The more time and thought you give to planning your project the more successful it is likely to be. It is important that you consider how you will balance ambition, time and realism in the realisation of the project. You should also include what you are going to do, how you will do it and by when. Remember to include time taken to source materials/ resources, to conduct research, to seek feedback from tutors and peers and identify when you will carry out independent study. | ||
Week no
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Tasks
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Notes
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1 - 25/2/19
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Read through the play, get to know your characters. Try out the first monologue
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2 - 4/3/19
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In depth research into characters. Make them your own (not Arinze’s).
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going to watch a show ‘Do Not Pop’. Record ideas
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3 - 11/3/9
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Begin going through the first third of the play.
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Learn Monologues 1&2 by the end of the week. Get feedback.
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4 - 18/3/19
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Start to think of movements and nuances for these monologues.
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Use feedback to push progress.
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5 - 25/3/19
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Start to think about intention is 3rd&4th monologue. Learn as much as you can.
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Start thinking about music and transitions.
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6 - 1/4/19
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Go through the monologues you’ve learned, practise with and without music.
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going to watch a show ‘Jesus Hopped The A-Train’. Record ideas.
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7 - 8/4/19
&
8 - 15/4/19
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Focus on the production side of the play. Learn lines of the remaining monologue.
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Easter break
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9 - 22/4/19
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Finish off learning the monologues, Record all voice overs.
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Recording room experience. Time the whole piece
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10 - 29/4/19
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Learn all duologues
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practice with the recordings
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11 - 6/5/19
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finalise lighting and sound choices
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technical rehearsals and run throughs
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12 - 13/5/19
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PERFORMANCE WEEK!!!
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continue to go through lines when you have the time
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