For help with the first task

Faust essay structure pt1 (click to play or ‘right click to download)

For help with the second task (Faustus in Elizabethan England) see below

For help with the third task (Contemporary Faust) see below

Faust discussion pt3 (click to play or ‘right click to download)

Below are the 4 evidence sheets you should have at very least partly completed by now.

Understanding motivation etc.doc

Using research.doc

Asking Questions about your role.doc

Punctuation exercise.doc

Last week we focussed on the external aspects of your character and gave a chance for you to try and ‘live’ the role a bit through impro. This week you will need to create some evidence of this and also get some assessment of your performance from a range of sources and show you can respond constructively to it.

Sheets for these tasks are below.

Assessment guidelines

Assessment sheet

Self Assessment (Checklist)

External qualities

Today, after finishing off notes about the importance of the actor developing their core skills which include observation, control of the body, imagination and spontaneity we looked at the assignment brief for the unit. You can download this from below.

Applying acting Styles, Assignment brief

We then looked at a range of different monologues and asked the kind of questions an actor might have to ask if bringing those characters to life.

We turned those questions into questions that could be asked about any monologue, these are listed below.

What happened imediately before the speech? What happened in the long term, prior to the speech that led to the character being in their particular situation?

• What is characters social background, their class etc?
• What events have created their particular characteristics or attitudes?
• What is the significance of the relationships shown or referred to?
• What is the importance of objects/setting referred to or used?
• Is the character telling the truth?
• What is the physical condition of the character at the time of the speech?
• What is the mental condition of the character at the time of the speech?
• What is the purpose of the lines – what do they want to achieve….
• Have the lines got a hidden purpose…? Do they mean more than they first appear to?

The key to most of these answers is to be found in the play from which your monologue comes from!

IT IS THEREFORE ESSENTIAL THAT YOU GET A COPY OF THE PLAY AS SOON AS POSSIBLE. THE FYI WILL ORDER IT FOR YOU IF POSSIBLE. YOU CAN ALSO GET PLAYS VERY CHEAPLY THROUGH PLAY.COM or AMAZON.CO.UK or EVEN EBAY.

Have a look at some of the weird and wonderful acts below as you will be developing your own unique performance next year!Think about the way they have developed skills into something unique and different…

Which do you like? Which would grab the audience attention and why?

What other acts do you think could fit in well? Leave any links to suitable youtube videos in the comments box..

Some old fashioned music hall, the style of theatre from which the variety act grew – At the time of this act, the public were fascinated by egypt and the tombs of pharohs as they were a recent discovery.

Cross dressing has always been a big part of music hall

Cross dressing with puppets and musical instruments! How could you resist watching this….

Due to popular Request I have uploaded the paperwork you will require – please note, to download it, you will probably have to right click (or on some mac computers, hold down ctrl whilst clicking) to download it.

There is,

1) The assignment brief for the unit Theatre for Children Assignment Brief

2) The index of evidence -remember, here you jot down whatever you have done and explain where the evidence and analysis is that relates to it. index-of-evidence-unit-11

3) There is the log book sheet that you can use to record and evaluate your work (remember, you could also use other methods, like video, photography + commentry on your work logbook-unit-11

There are also several class or ‘starter’ tasks we’ve done that could or should be in your log of evidence, these include,

1) The notes on the scenes you have been involved, i.e. your directing ideas etc

the-little-beggar-synopsis

when-abu-hassan-broke-wind

the-story-of-the-envious-sisters

You also must have the target sheets that relate to you and your group

This includes at least 2 set of group targets

Targets for little Begger group 1

Targets for Little Begger group (2)

abu-hassan-targets-1

abu-hassan-targets-2

abu-hassan-targets-3

This should ALSO include the sheet we did on friday about evidence checking and also your own targets… See below…

evidence-check

Self Assessment

Here’s an inspirational picture after all that PAPER!!!

In the session, Graylin and Steph took responsibility for writing the narrative for the frame story. leah expressed an interest in doing the opening narration. frame-story
Above is the discussion we had in class

Ideas for the frame story expressed by the group.

Week 2 of T.F.C.

Above is the video of the developing work done by ‘The little Begger’ group.

Above is a recording of the work done by Siobhan and Rachael to create a simple dance for the feast.

Below are the synopsis for each scene.
the-little-beggar-synopsiswhen-abu-hassan-broke-wind

childrens-theatre-debate

We discussed the main differences between children and adults and what would be the key factors in appealing to a younger audience…

We then split into groups and using musical instruments and bodies, attempted to create some of the weird and wonderful (and sometimes gruesome) images and atmospheres from the Arabian Nights stories.

Apologies for the quality of the video, – you should at least get a sense of the rhythm of the piece from watching these, but sadly it wasn’t as high quality recording as I’d hoped.

Confusions

Two (Emma, Danni, Rachael, Hollie, Sorell)

4:48 Psychosis (apologies for the fact this video is incomplete – for some reason the computer stopped recording part way through)

Two