Tuesday, 27 May 2014

Tech Run 18.5.14

Our tech went really well and jo and Jonathan gave us some notes to work on during Monday and tuesday before the performances.

Notes:
James interaction with audience at the beginning - be more stern, intimidate

Work on dynamic range

James vocal volume - louder

Daisy and James - stricter with audience, more direct, mixture of German and English

Elsa and James - make more of the look in the hub, stylised with circling

James - list in dance lines driven more

Daisy- more fierce with "do this and die"

Mandi kneel down

James look and then hide quickly

As James exits off balcony. Mandi enters - overlap

Nat - keep eyes up

Grease hair up

Shoe scene - looks not vocals and gradually build the singing PRACTICE POINT

Nat and Becs - be firm with the audience when moving

Sort out address and paper

Hero will take gun and hold to James and Beatrice takes it away PRACTICE POINT


Rehearsal 16.5.14

Our aim for this rehearsal is to work through the rest of the notes from our previous run and run through some scenes.

Our rehearsal went well and our aim for next Monday and tuesday is to keep running scenes so that the intent is right ready for the performances on Tuesday and Thursday.

Sunday, 25 May 2014

Rehearsal 15.5.14

In yesterday's rehearsal we did a run of our piece - although we only walked through it as some bits, such as a couple of the transitions were incomplete.

These are the notes we got from Jonathan, jo and rose: (see picture)

In today's rehearsal we went through the highlighted points on the notes.

Next rehearsal we will concentrate on the uninhibited notes.

Rehearsals 9th,12th,13th,14th may

During these Rehearsals we worked through the feedback we got from the teachers and then we spent time piecing together the scenes we had created and working out how to do the transitions. We also finalised where all the scenes would take place.

Feedback from run

Feedback

Nice opening - striking - works, sets tone

Moment needed between Beatrice and benedick to show a spark/connection (establishment needed in earlier sections) - concentrate on looks between characters

Singing lovely - very haunting

Wooden coat hangers

Show that daisy and James aren't the best of friends

Show intent - being made to say it or get killed (find moment to be threaten by daisy)

Officer? Ranks?

Shoe sorting - already starting scene?

Daisy killing in front of camp mates - embarrassing her

Think about how Ursulas death affects
benedick

Move the audience in the scene dock to second scene

Share the coat figures 3 - dimension

Violin is lovely - is there a moment of defiancy

Rehearsals 7.5.14 and 8.5.14

7.5.14
The aim of this rehearsal was to make sure the camp life scene is complete and go over the scenes that we have already done to recap and start adding detail.

8.5.14
The aim of this rehearsal was to recreate the romance scene still working with the clothes swapping idea. For this we asked rose for help. (The final product is in a separate blog post)

Video from rehearsal 8.5.14

Romance scene: http://youtu.be/PAz2kfdOhJs

Video from rehearsal 1.5.14

Daisy and mandi motif: http://youtu.be/EkkUvSVH0ic

Rehearsal 6.5.14

Our aim for today's rehearsal was to created the second camp life scene - shoe sorting. We had found some old shoes in the costume cupboard in a previous rehearsal (17.4.14). We have decided to use one of techniques we discovered during our workshopping rehearsals - passing the shoes around in a rhythm. However, we decided to do it in a line formation instead. The song we chose to accompany the movement was rose red (the same song from the beginning of the piece) as a reoccurring motif throughout the piece. By creating this scene we also worked out how to link to the next scene - something we had been uncertain of for a while.

Rehearsal 2.5.14

During this rehearsal we created the violin discovery scene and looked on how we can use props throughout the piece of music. 

We then reflected on how the week had gone and planned what we would do next week (shown in the below picture)

Friday, 23 May 2014

Pictures from rehearsal 1.5.14


Rehearsal 1.5.14

I NEED TO:
YouTube convert the coat dancing scene music

Today we worked with rose to create the transition into the gas chamber between daisy, mandi, elsa and James.

Video and pictures (in the next blog)

We then spent the rest of our rehearsal working out becs' Violin discovery:
-sorting
-looking
-cuddling
-James enters
(We didnt have time to finish this so we will be carrying on in tomorrow's rehearsal)

ANGEL THOUGHT : when trying to get happy during the camp life scene, we can repeat the dance we did with the coats but with each other.

Rehearsal 30.4.14

The aim of this rehearsal is to do emotional recall to help recapture the emotion that should be in our performance. Becs and made led this session

1) laying on the floor on a beach, knowing you have to get up.

Feelings:
-reluctance
- laziness
- unwillingness
- sloth

2) happy memories of my grandad

Feelings:

- contentment
- warmth
- love
- happiness

3) imagining the happy memories taken away

Feelings:

- heartbroken
- distraught
- sadness
- teary

During the rest of the rehearsal we:

-Built on alexs workshop idea of clothes swapping sequence for the romantic scene. Leading into gas chamber scene. Hero screams shattering the embrace. Margaret, elle and Ursula get the audience to the balconies.
-Choreographed the meeting scene
-I also wrote up what scenes we had, the order in which they go and where we could have each scene.

Rehearsal 29.4.14

The aim of this rehearsal was to start thinking of our transition between scenes.

James had the idea to have 2 gas chambers:
-Mandi saving
-transition into the court room scene: the audience are put into the gas chamber and then led into the war crimes trial.

We thought that in the scene where Hero is sent to the gas chamber, mandi is saved by James (like in the true life story) but elsa should be beat up by james...This is so that the other guard doesn't guess that he is in love with her.

Production meeting 28.4.14

AGENDA
-include hero's character more
-start thinking about costume
-see natalie's idea for the beginning of the piece in the foyer
-sort out James and elsas romantic scene
-page 83 of much ado about nothing: Beatrice and Benedick (I need to write this up and link it to the Ursula's death scene.)

For the rest of the rehearsal we chose to concentrate on linking the Ursulas death scene, Beatrice and Benedick scene and joanna's death scene. We linked the three scenes and then ran it.

We then ran it again but to the extremes to see which bits, if any, could work:

-elsa's extreme emotions on certain lines
-my reactions to James
-the connection of emotions between the camp mates

We then Re-ran the scenes again (keeping the above list) and we found:

-it created a sense of atmosphere
-the subtlties of characters were introduced (I cried and used my hands to show the anger and hurt I feel in this scene - this is the only scene that I show true emotions)

Rehearsal 25.4.14

The aim of this rehearsal was to get the texts up on their feet.

This rehearsal went well as we managed to block the scene and started thinking about how we can incorporate props and scenery into this.

When I got home I also wrote up the tricking benedick scene.

Rehearsal 24.4.14

Today's aim of rehearsal was to find the text we will use from much ado about nothing.

We sat with Johnny and he helped us pick out bits of script and cut lines that weren't needed.

We found text for:
-Tricking Beatrice
-Beatrice and benedick for the (end of the opening scene)
-Daisy and James also found script for Tricking Benedick

When I got home I wrote them up so that the group could see how the scene will play out. I haven't yet written up the tricking benedick scene as daisy and James haven't given me the text they've chosen/cut.

Rehearsal 23.4.14

Aim: (list on previous blog)

We decided to concentrate a lot of our camp life scene:
-we found the music we wanted for this scene on youtube (Andy Statman: flatbush waltz - klezmer music) we have decide to use a piece of music here instead of live music for the violin because this will be the scene that becs will find the instrument.
-we choreographed the dance: we chose to keep it to a simple three step sequence but we all put our own twists on it.
-we linked the Jewish names to it and finalised which names each person was having.
-we showed Jonathan and scarlet and they gave us feedback on how to use our faces and body language more.

Whilst we were sorting through the camp life scene, Daisy and James went and found text and created the scene where daisy is killed.

Next rehearsal we need to carry on with our list for today's rehearsal and link text to the play more.

Production meeting 22.4.14

Aim: by the end of the week we want to acheive:
-produce the skeleton of the piece
-go over what we did on Thursday during half term.

On wednesday we are going to do:
-entrance merged with child death scene
-falling in love scene with scarf and coat
-go over camp life scene

Pictures from rehearsal 17.4.14

Rehearsal 17.4.14

The start of this rehearsal was a workshop with director, Alex. We did three activities/techniques with him:

1) Travelling sequence - for this we had to come up with different ways of travelling (ex. Lifting, going under people's arms) and then link it altogether. We then told Alex about our idea to begin our piece by hugging the audience. He suggested that we try doing our travelling sequences that we had made up in pairs from different corners of the room, travel into the middle via our sequences and then hug each other and travel back out to different corners. When we did this I felt that the travelling sequences were very effective but they wouldn't perhaps work in our opening because we are trying to create a moving, simple beginning to instantly grab the audiences attention, this may be achieved better with audience interaction rather than interaction between us actors.

2) Another activities we did was create a movement sequence using items of clothing. We had a scarf for Helena and a coat for franz. Me, mandi and daisy manipulated the items and the two characters whilst becs played the violin. We discovered that this is a very unique and effective technique because we can make the items of clothing tell lots of stories. I think this will be a good idea for the romantic scene where Helena and franz fall in love.

3) Gesture patterns - we had to get into pairs and come up with three gestures each. We then had to do them to each other,  copy them and then use them to create a sense of a conversation. I didn't feel this would be good for the romantic scene in our piece, however it might work in camp life between the characters of Margaret and Ursula.

For the second part of our rehearsal: our aim was to create our first camp life scene.

We found lots of props and old looking costume to work with and created a sorting room in the camp:

-we created people with coats, shoes, scarves and hats
-we strayed clothes and piled up suitcase to look like they've just been thrown in the room.
-we created a dance with the coats which was inspired from the artist ).
-had the idea to read out facts about real life survivors to help show that the coats we are dancing with symbolise other people in the camps.

We also created part of the first scene in which the child dies.

I feel this was a really beneficial rehearsal as we got a lot done and Alex has helped us to springboard into creating scenes.

Thursday, 3 April 2014

Spark notes act 3 scene 3

Act III, scene iii

Summary

In a street outside Leonato’s house, the town policemen of Messina—collectively called the Watch—gather together to discuss their duties for the night. Dogberry, the head constable, and Verges, his deputy, command and govern them. Dogberry and Verges are well intentioned and take their jobs very seriously, but they are also ridiculous. Dogberry is a master of malapropisms, always getting his words just slightly wrong.

Under Dogberry, the Watch is very polite but not very effective at deterring crime. As Dogberry gives his orders to his men, it becomes clear that the Watch is charged with doing very little. For example, when asked how the men should react should someone refuse to stand in Don Pedro’s name, Dogberry replies, “Why then take no note of him, but let him go, and presently call the rest of the watch together, and thank God you are rid of a knave” (III.iii.25–27). Furthermore, the Watch is supposed to order drunkards to go home and sleep their drunkenness off—unless the drunkards won’t listen, in which case the men are to ignore them. The men are not to make too much noise in the street—they may sleep instead. They shouldn’t catch thieves, because it isn’t good for honest men to have too much to do with dishonest ones, and they should wake up the nurses of crying children—unless the nurses ignore them, in which case they should let the child wake the nurse by crying instead. In short, they may do anything they want and don’t have to do anything at all, as long as they are careful not to let the townspeople steal their spears.
Dogberry gives his men a final order: act particularly vigilant near the house of Leonato, for Leonato’s daughter, Hero, is to be married the next day, and the house is filled with commotion and chaos. After Dogberry and Verges depart, the men they have left behind sit down quietly on a bench and prepare to go to sleep.
Suddenly, the watchmen are interrupted by the entrance of Don John’s associates, Borachio and Conrad. Borachio, who does not see the watchmen, informs Conrad about what has happened this night. Acting on the plan he developed with Don John, Borachio made love to Margaret, Hero’s waiting maid, at the window of Hero’s room, with Margaret dressed in Hero’s clothing. Don Pedro and Claudio, who were hiding nearby with Don John, saw the whole thing and are now convinced that Hero has been disloyal to Claudio. Claudio, feeling heartbroken and betrayed, has vowed to take revenge upon Hero by publicly humiliating her at the wedding ceremony the next day. The watchmen, who have quietly listened to this whole secretive exchange, now reveal themselves and arrest Borachio and Conrade for “lechery,” by which they mean treachery. They haul them away to Dogberry and Verges for questioning.

Spark notes act 3 scenes 1 and 2

Act III, scenes i–ii

Summary: Act III, scene i

In Leonato’s garden, Hero prepares to trick Beatrice into believing that Benedick loves her. With the help of her two waiting women, Margaret and Ursula, she plans to hold a conversation and let Beatrice overhear it—just as Don Pedro, Leonato, and Claudio have done to trick Benedick in the previous scene. Margaret lures Beatrice into the garden, and when Hero and Ursula catch sight of where she is hiding, they begin to talk in loud voices.

Hero tells Ursula that Claudio and Don Pedro have informed her that Benedick is in love with Beatrice. Ursula suggests that Hero tell Beatrice about it, but Hero answers that everybody knows that Beatrice is too full of mockery to listen to any man courting her—Beatrice would merely make fun of both Hero and Benedick and break Benedick’s heart with her witticisms. Therefore, she says, it will be better to let poor Benedick waste away silently from love than expose him to Beatrice’s scorn. Ursula replies by disagreeing with Hero: Hero must be mistaken, because surely Beatrice is too intelligent and sensitive a woman to reject Benedick. After all, everybody knows that Benedick is one of the cleverest and handsomest men in Italy. Hero agrees, and goes off with Ursula to try on her wedding dress.
After Hero and Ursula leave the garden, winking at each other because they know they have caught Beatrice, Beatrice emerges from her hiding place among the trees. Just as Benedick is shocked earlier, Beatrice cannot believe what she has heard at first. Also, like Benedick, she swiftly realizes that it would not be so difficult to “take pity” on her poor suitor and return his love. She knows how worthy Benedick really is and vows to cast off her scorn and pride in order to love him back.

Summary: Act III, scene ii

Elsewhere, Don Pedro, Claudio, and Leonato begin to tease Benedick about his decision never to marry. Benedick announces that he has changed, and the others agree; they have noticed that he is much quieter. They say that he must be in love and tease him about it. But Benedick is too subdued even to answer their jokes. He takes Leonato aside to speak with him.
As soon as Claudio and Don Pedro are left alone, Don John approaches them. He tells them that he is trying to protect Don Pedro’s reputation and save Claudio from a bad marriage. Hero is a whore, he says, and Claudio should not marry her. The two are shocked, of course, but Don John immediately offers them proof: he tells them to come with him that night to watch outside Hero’s window where they will see her making love to somebody else. Claudio, already suspicious and paranoid, resolves that if what he sees tonight does indeed prove Hero’s unfaithfulness, he will disgrace her publicly during the wedding ceremony the next day, and Don Pedro vows to assist him. Confused, suspicious, and full of dark thoughts, Claudio and Don Pedro leave with Don John.

Spark notes act 2 scenes 2 and 3

Act II, scenes ii–iii

Summary: Act II, scene ii

The bitter and wicked Don John has learned of the upcoming marriage of Claudio and Hero, and he wishes that he could find a way to prevent it. Don John’s servant Borachio devises a plan. Borachio is currently the lover of one of Hero’s serving women, Margaret. He suggests that Don John go to Claudio and Don Pedro and tell them that Hero is not a virgin but a whore, a woman who has willingly corrupted her own innocence before her marriage and at the same time chosen to be unfaithful to the man she loves. In order to prove this accusation, Don John will bring Don Pedro and Claudio below the window of Hero’s room on the night before the wedding, where they should hide and watch. On the balcony outside Hero’s room, Borachio will make love to Margaret—whom he will have convinced to dress up in Hero’s clothing. The watchers will then see a woman who resembles Hero making love with Borachio, and will thus believe Don John’s claim that Hero has been false to Claudio. Very pleased with the plan, Don John promises Borachio a large reward if he can pull it off and prevent the planned wedding.

Summary: Act II, scene iii

Meanwhile, ignorant of the evil that Don John stealthily plots, Benedick’s friends enact their own benign trick to get Benedick and Beatrice to fall in love. They know that Benedick is currently wandering around in the garden, wondering aloud to himself how, although he knows that love makes men into idiots, any intelligent man can fall in love. He ponders how Claudio can have turned from a plain-speaking, practical soldier into a moony-eyed lover. Benedick thinks it unlikely that he himself will ever become a lover.
Suddenly, Benedick hears Don Pedro, Claudio, and Leonato approaching, and he decides to hide among the trees in the arbor and eavesdrop. Don Pedro and Claudio, noticing him there, confer quietly with each other and decide it’s time to put their scheme into effect. They begin to talk loudly, pretending that they have just learned that Beatrice has fallen in love with Benedick. Benedick, hidden in the arbor, asks himself in shock whether this can possibly be true. But Don Pedro, Leonato, and Claudio embellish the story, talking about how passionately Beatrice adores Benedick, and how they are afraid that her passion will drive her insane or spur her to suicide. She dares not tell Benedick, they say, for fear that he would make fun of her for it—since everyone knows what his mocking personality would do. They all agree that Benedick would be a fool to turn her away, for he currently seems unworthy of so fine a woman as Beatrice.
The others go in to have dinner, and the amazed Benedick, emerging from the arbor, plunges himself into profound thought. Don Pedro’s plan has worked: Benedick decides that he will “take pity” upon the beautiful, witty, and virtuous Beatrice by loving her in return. He has changed his mind, and far from wanting to remain an eternal bachelor, he now desires to win and marry Beatrice. Beatrice appears, having been sent out to fetch Benedick in to dinner. She deals as scornfully as usual with him, but he treats her with unusual flattery and courtesy. Confused and suspicious, Beatrice mocks him again before departing, but the infatuated Benedick interprets her words as containing hidden messages of love, and he happily runs off to have a portrait made of her so that he can carry it around with him.

Spark notes act 2 scene 1

Act II, scene i

Summary

While Hero, Beatrice, Leonato, and Antonio wait for the evening’s masked ball to begin, Hero and Beatrice discuss their idea of the perfect man—a happy medium between Don John, who never talks, and Benedick, who engages himself in constant banter. This exchange leads into a conversation about whether or not Beatrice will ever get a husband, and Beatrice laughingly claims that she will not. Leonato and Antonio also remind Hero about their belief that Don Pedro plans to propose to her that evening. The other partygoers enter, and the men put on masks. Supposedly, the women now cannot tell who the men are. The music begins, and the dancers pair off and hold conversations while they dance. Don Pedro’s musician, Balthasar, dances with Hero’s servant Margaret and old Antonio dances with Hero’s other servant, Ursula. Meanwhile, Don Pedro dances with Hero and begins to flirt with her. Benedick dances with Beatrice, who either does not recognize him or pretends not to. She insults Benedick thoroughly to her dancing partner, saying that while Benedick thinks that he is witty others find him completely boring.

The music leads many of the dancers away into corners of the stage, creating various couplings. Don John, who has seen his brother Don Pedro courting Hero, decides to make Claudio jealous by making him think that Don Pedro has decided to win and keep Hero for himself instead of giving her to Claudio as he had promised. Pretending not to recognize Claudio behind his mask, Don John addresses him as if he were Benedick, mentioning to him that, contrary to their plan, Don Pedro actually courts Hero for himself and means to marry her that very night.
Claudio believes Don John, and, when the real Benedick enters a few moments later, the angry and miserable Claudio rushes out. But when Don Pedro comes in along with Hero and Leonato, Benedick learns that Don Pedro has been true to his word after all; he has courted and won Hero for Claudio, not for himself, just as he promised. Benedick still remains bitter about the nasty things Beatrice said to him during the dance, so when Beatrice approaches with Claudio, he begs Don Pedro to send him on some extremely arduous errand rather than be forced to endure her company. Don Pedro laughingly insists that he stay, but Benedick leaves anyway.
When Claudio returns, Don Pedro tells him that Hero has agreed to marry him (Claudio), and Leonato supports him. Claudio, overwhelmed, can barely speak, but he and Hero privately make their promises to one another. Beatrice half-seriously remarks that she will never have a husband, and Don Pedro offers himself to her. Beatrice, comparing him to fancy clothes, replies that she wishes she could have him but that he would be too lavish and valuable for her to wear every day. After Beatrice and Benedick leave, Leonato and Claudio discuss when Claudio will marry Hero. Claudio wants the wedding to occur the next day, but Leonato decides on the coming Monday, only a week away. Claudio regrets that the wait will be so long, but Don Pedro comes up with a good way to pass the time: with the help of all his friends, he will design a plan to get Beatrice and Benedick to stop arguing and fall in love with one another. He secures the promises of Leonato, Claudio, and Hero to help him in the plan he will devise.

Spark notes act 1 scenes 2 and 3

Act I, scenes ii–iii

Summary: Act I, scene ii

Inside his house, Leonato runs into his elder brother, Antonio. Antonio says that a servant of his overheard Don Pedro talking with Claudio outside. The servant thinks that he overheard Don Pedro professing his love for Hero and that he means to tell her that very night, during the dance, and then ask Leonato himself for Hero’s hand in marriage. Obviously, Antonio has misheard the truth: Claudio, not Don Pedro, loves Hero. Nevertheless, the only part of the conversation Antonio has intercepted is that Don Pedro will woo Hero that evening. Leonato’s prudent reply is that he will not consider the rumor to be true until his daughter is actually courted. But he declares that he will tell Hero about it, so that she may think about what she wants to say in response to Don Pedro, should this bit of information prove true.

Summary: Act I, scene iii

Elsewhere in the house, Don John converses with his servant, Conrad. Conrad asks Don John why he appears angry and melancholy. Don John replies that he is naturally depressed and somber; he lacks the skills—or the willpower—to change his face to suit other people. Conrad reminds Don John that Don Pedro has only very recently started to be friendly with him again, and if Don John wants to remain on good terms with his powerful brother, he ought to show a more cheerful face. But, bitter that he must depend both socially and economically on his much more successful and highly ranked brother, Don John bristles at having to conform to Don Pedro’s expectations.
Borachio, another of Don John’s servants, enters to tell Don John that he has overheard rumors of the upcoming marriage between Claudio and Hero. Borachio, like Leonato’s servant, has also overheard Don Pedro and Claudio making plans, but Borachio correctly understands what he has heard. He realizes that Don Pedro plans to court Hero in order to give her to Claudio. Don John, who hates Claudio for being so well loved and respected, decides to try to use this information to make trouble for Claudio. Conrad and Borachio swear to help him.

Spark notes act 1 scene 1 overview

Act I, scene i

Summary

In the Italian town of Messina, the wealthy and kindly Leonato prepares to welcome home some soldier friends who are returning from a battle. These friends include Don Pedro of Aragon, a highly respected nobleman, and a brave young soldier named Claudio, who has won much honor in the fighting. Leonato’s young daughter, Hero, and her cousin, Beatrice, accompany him. Beatrice asks about the health of another soldier in Don Pedro’s army, a man named Signor Benedick. Beatrice cleverly mocks and insults Benedick. A messenger from Don Pedro defends Benedick as an honorable and virtuous man, but Leonato explains that Beatrice and Benedick carry on a “merry war” of wits with one another, trading jibes whenever they meet. Beatrice confirms this statement, noting that in their most recent conflict, “four of his five wits went halting off, and now is the whole man governed with one” (I.i.52–54).
Don Pedro arrives at Leonato’s house with his two friends, Claudio and Benedick, and they are joyfully welcomed. Also accompanying Don Pedro is his quiet, sullen, illegitimate brother, Don John “the Bastard,” with whom Don Pedro has recently become friendly after a period of mutual hostility. While Leonato and Don Pedro have a private talk, Beatrice and Benedick take up their war of wits. In an extremely fast-paced exchange of barbs, they insult one another’s looks, intelligence, and personality. When Benedick tells Beatrice proudly that he has never loved a woman and never will, Beatrice responds that women everywhere ought to rejoice.
Don Pedro tells Benedick, Claudio, and Don John that Leonato has invited them all to stay with him for a month, and that Don Pedro has accepted. Everyone goes off together except Claudio and Benedick. Claudio shyly asks Benedick what he thinks of Hero, announcing that he has fallen in love with her. Benedick jokingly plays down Hero’s beauty, teasing Claudio for thinking about becoming a tame husband. But when Don Pedro returns to look for his friends, Benedick tells him Claudio’s secret, and Don Pedro approves highly of the match. Since Claudio is shy and Leonato is Don Pedro’s close friend, Don Pedro proposes a trick: at the costume ball to be held that night, Don Pedro will disguise himself as Claudio and declare his love to Hero. He will then talk with Leonato, her father, which should enable Claudio to win Hero without difficulty. Full of plans and excitement, the three friends head off to get ready for the ball.

Spark notes research 3.4.14

SparkNotes

Much Ado About Nothing

Plot Overview

Leonato, a kindly, respectable nobleman, lives in the idyllic Italian town of Messina. Leonato shares his house with his lovely young daughter, Hero, his playful, clever niece, Beatrice, and his elderly brother, Antonio (who is Beatrice's father). As the play begins, Leonato prepares to welcome some friends home from a war. The friends include Don Pedro, a prince who is a close friend of Leonato, and two fellow soldiers: Claudio, a well-respected young nobleman, and Benedick, a clever man who constantly makes witty jokes, often at the expense of his friends. Don John, Don Pedro’s illegitimate brother, is part of the crowd as well. Don John is sullen and bitter, and makes trouble for the others.
When the soldiers arrive at Leonato’s home, Claudio quickly falls in love with Hero. Meanwhile, Benedick and Beatrice resume the war of witty insults that they have carried on with each other in the past. Claudio and Hero pledge their love to one another and decide to be married. To pass the time in the week before the wedding, the lovers and their friends decide to play a game. They want to get Beatrice and Benedick, who are clearly meant for each other, to stop arguing and fall in love. Their tricks prove successful, and Beatrice and Benedick soon fall secretly in love with each other.
But Don John has decided to disrupt everyone’s happiness. He has his companion Borachio make love to Margaret, Hero’s serving woman, at Hero’s window in the darkness of the night, and he brings Don Pedro and Claudio to watch. Believing that he has seen Hero being unfaithful to him, the enraged Claudio humiliates Hero by suddenly accusing her of lechery on the day of their wedding and abandoning her at the altar. Hero’s stricken family members decide to pretend that she died suddenly of shock and grief and to hide her away while they wait for the truth about her innocence to come to light. In the aftermath of the rejection, Benedick and Beatrice finally confess their love to one another. Fortunately, the night watchmen overhear Borachio bragging about his crime. Dogberry and Verges, the heads of the local police, ultimately arrest both Borachio and Conrad, another of Don John’s followers. Everyone learns that Hero is really innocent, and Claudio, who believes she is dead, grieves for her.
Leonato tells Claudio that, as punishment, he wants Claudio to tell everybody in the city how innocent Hero was. He also wants Claudio to marry Leonato’s “niece”—a girl who, he says, looks much like the dead Hero. Claudio goes to church with the others, preparing to marry the mysterious, masked woman he thinks is Hero’s cousin. When Hero reveals herself as the masked woman, Claudio is overwhelmed with joy. Benedick then asks Beatrice if she will marry him, and after some arguing they agree. The joyful lovers all have a merry dance before they celebrate their double wedding.

3.4.14

Jonathan advise
-use simplicity of standing still
-watch Schindlers list
-watch ghetto if you can find it
-auschwitz and the commander
-find songs in the ghetto script

For the rest of this lesson we are individually brainstorming ideas for our own scenes that we are head of directing.

Rehearsal 2.4.14

In this rehearsal we divided our timeline into scenes and then split them between us to decide who would be the head director. These are:

Daisy - auschwitz liberated and Don Jon death

Natalie - arrival at auschwitz

Elsa - love scene

Becs - sorting/camp life

Elle - war crimes trial

James - camp life

Mandi - gas chamber

Rehearsal 1.4.15

Pitch feedback

Not doing the Holocaust it's only set there.
Stick to the telling of the story.
Look on digital theatre: look at play aboutJewish survivors.
Be careful about what parts of much ado we use.
Biggest challenge is how we are going to tell the story.
Using music in the piece will be very powerful.

Rest of the week

For the rest of the week beginning, we concentrated on rehearsing and finalising our pitch.

Wednesday, 2 April 2014

Sorting motifs video

Sorting motifs: https://youtu.be/U-kwHpiVXLo

Rehearsal 25.3.14

In today's rehearsal we did an exercise that James and elsa did at sas where we had to think of a sequence and then perform them to a beat. We chose to do it to the song beggin' by madcon.

Video on a separate post.

We then put together our individual sequences and made one long motif that we could possibly use for the sorting scene.

Production Meeting Agenda 24.3.14

Agenda
Rehearsals
Absences

Absences this week
Tuesday - Becs and elle

Wednesday - Mandi, elsa and elle

Rehearsals
Tuesday - put together pitch

Wednesday - work on characters

Thursday lunch - pitch rehearsal

Thursday - devising (maybe complete text)

Friday - devising (get things on their feet)

Monday, 17 March 2014

Production Meeting 17.3.14

AGENDA

-Rehearsals
-Text
-Presentation
-Cast List/Characters

Rehearsals
Tuesday lesson - Work on Presentation
Wednesday lesson - Look at Text and decide which bit we could possibly use
Wednesday afternoon - Carry on working on Presentation
Thursday lesson - Carry on looking at text
Friday lesson - Explore Characters and Casting

Text
If not got, need to buy and then look at text, take something from it and create an exercise.

Presentation
Carry on with individual things and bring everything in on Wednesday.

Characters

Benedick - Franz
Beatrice - Helena
Claudio - Claudia
Hero - Sister
Don Pedro - Pedra
Don Jon - Sonderkommando
Margaret - Margo

Rehearsal 14.3.14

In this rehearsal we looked at the Augusto Boal book for exercises that we could use that might be relevant to our piece.

The first exercise that we found was a shoe game where we had to pass shoes round the circle, tapping them on the floor, to a rhythm or song. We choose to use a nursery rhyme and then used the Rose Red song. When reflecting on this exercise we thought that it could be good to include in the piece as it symbolizes the women's jobs in the camp to sort through clothes and shoes.

James then thought of another exercise that we could try which focused on control and teamwork. One of us had to hide a bottle top in our hands and not reveal who it is. James then had to control us and tell us what to do as a way to torture us into giving up who has the bottle top. We timed how long it took us to give up who had the bottle top and it took us roughly 7 minutes. I thought that this was a good exercise because we were able to have a little insight into how exhausted the camp mates would be and how strict everything is in a camp.

We then decided to play Honey, I love you - we did this as a test on concentration levels and having the ability to keep a straight face. These are two things that the camp-mates would have had to everyday.

We then sat as a group and with Rose's help wrote our mission statement:

Our Shakespeare re-imagination of Much Ado About Nothing is set in the historical context of Auschwitz Concentration Camp. This is an innovative new take on the plot-line of Beatrice and Benedick, entwined with a real life story from within the camp. A major aim of the production is to inform and explore the nature of humanity, with our audience in a participative role. The style of this piece is dark and naturalistic with undertones of tragedy; a dark adaptation of the original play.

Rehearsal 13.3.14

After accidentally and rather annoyingly deleting my notes from this lesson this is roughly what we did in this rehearsal....

To begin with we carried on with the 'line' work we were exploring and decided to add our Rose Red song into the marching. Talking as a group we felt that it worked really well together as it was emotion-provoking. We then discussed how we could maybe get in a line when James (as the Guard) instructs us to after we have hugged the audience. We thought that this could possibly be a good way to begin the piece as its unexpected and attention-grabbing. 

Here is a video of this exercise:

https://www.youtube.com/watch?v=5yBb337Ek38
We then tried an exercise that Mandi had remembered doing at Sussex Actors Studio where someone drops to the floor and one of the 'saviours' has to lie next to them and roll them over them to get them back up. I think that this exercise was helpful because it showed the relationships between potential characters if we were doing the Auschwitz idea. 

Here is a video of this exercise:

https://www.youtube.com/watch?v=pfDltEd8pWQ
We then sat down as a group and pretty much unanimously decided that we wanted to do the Auschwitz idea. We then started to talk about what sort of things could be included in it, some more context about James' true life story and mentions of scenes from the text that could be included. 

Rehearsal 12.3.14

In this rehearsal we started to look at workshopping our ideas for two of our ideas; these were the Witchcraft one and the Concentration Camp one.

We started off with an exercise that elsa came up for the witchcraft idea. inspired by an activity done at Sussex Actors Studio, we had to get into pairs and guide each other around the space, though one of us had our eyes shut. This was a trust exercise and we wanted to know how it felt to be controlled unable to do anything yourself. 

Here is a video of our first try at the exercise:

https://www.youtube.com/watch?v=IpYOWf3FhWk

After doing this exercise a couple of times, we grouped back together to talk about how we felt during the exercise. This was:

  • physically scared
  • not in control
  • oppressed
  • felt physically small
  • disorientated
  • dizzy
Elle then suggested that we try the exercise molding the people before moving them. this made the activity more visually interesting as well as feeling more oppressed. 

Here is a video of the extended exercise:


After finishing this exercise we decided that if we were to somehow use this idea to create our final piece we can explore:
  • speed
  • intensity
  • sounds
  • german words
  • music - possibly Rise of the Valkryies by Wagner

We then went on to try another control idea: We all had to get in a line and put our hands on each others shoulders and then follow the istructional movements of the one behind. We all had our eyes shut and had to walk and turn with each other. Furthermore, we used James to instruct us in German to march as we sung the Rose Red song from the beginnings of rehearsals. i thought this worked really well and it could be a good idea to put in the piece - whether we choose the Auschwitz or the Witchcraft idea. 

At the end of our rehearsal we spoke to Rose who recommended that we watch: 7734 by Jasmine Vardiman and that we use the book: Games for actors and non-actors by Augusto Boal.

Monday, 10 March 2014

Production Meeting 10.3.14

To start with Jonathon gave us an article on how to make an effective contribution when devising theatre. I think this is very helpful because I've never devised a piece of theatre at this level before. He also advised us that researching how to devise theatre would help - I shall do some of this tomorrow.

He also gave us a list of eResources that we have access to, to help us on our piece. These are:

  • Music Week
  • Bitannica Online
  • UK Newsstand
  • Digital Theatre Plus
We then spent some time with Jo getting our grades back for our work on Budgets and she also went over what has to be included in our pitch - which we will be doing in two weeks time.

In this Production Meeting with Rose, we had to decided when we were going to tech our show. We also had to decide which day/days we would like to rehearse in the Easter holidays - we have decided to rehearse one day in the first week and one day in the second week. This is because James and Becs can only do different weeks, therefore we are working two days and we will have to work around their absences. 

We also as a company had to decide which times we were going to rehearse outside of lessons.

The aim of this week of rehearsal is to workshop two ideas and decide on one of the other. Our two ideas we have chosen to carry forward are Idea 1 (Concentration Camp) and Idea 2 (Witch hunts). This is because we feel these ideas have more depth to them. Rose has suggested that we regroup on Friday to reflect on our aims of the week and think about how to move on before the next Production Meeting on the following Monday.

Before next rehearsal, I need to have come up with an activity/idea about the witch hunt idea ready for work-shopping. 

Sunday, 9 March 2014

Ann Oakley - Feminist Sociologist

Ann Oakley (born 1944) is a distinguished British sociologistfeminist, and writer. She is Professor and Founder-Director of the Social Science Research Unit at the Institute of EducationUniversity of London and in 2005 partially retired from full-time academic work to concentrate on her writing and especially new novels. Oakley is the only daughter of Professor Richard Titmuss and wrote a biography of her parents as well as editing some of his works for recent re-publication. Her mother Kathleen, née Miller, was a social worker.
She was educated at Somerville College, Oxford University taking her BA in 1965, having married fellow future academic Robin Oakley the previous year. In the next few years Oakley wrote scripts for children's television and wrote numerous short stories and had two novels rejected by publishers. Returning to formal education at Bedford College, University of London, she gained a PhD in 1969; the qualification was a study of women's attitudes to housework, from which several of her early books were ultimately derived. Much of her sociological research focused on medical sociology and women's health. She has also made important contributions to debates about sociological research methods.
Ann Oakley has written numerous academic works, many focusing on the lives and roles of women in society as well as several best-selling novels, of which the best-known is probably The Men's Room, which was adapted by Laura Lamson for BBC television in 1991, and which starred Harriet Walter and Bill Nighy. She has also written an early partial autobiography. She divides her life between living in London and in a rural house where she does most of her fiction writing. She is a mother and grandmother.

The above is an extract from Ann Oakley's Wikipedia page - some background information on who she is and what she has studied.
I have had a look through my Sociology Notes and Booklets and have found some information on how women were viewed/treated in the past that might be helpful when exploring Idea 3. These are:

Ann Oakley argued that the housewife role was created by men, and is not women's natural role - it is socially constructed. Oakley said that in pre-industrial times, women worked in family businesses (cottage industries). During industrialization (from about 1750 onwards), factories were being set up, and women worked in factories, mills and even in mines. A lot of mine workers were women and children, as this suited them as they were small.
However, laws gradually came in that restricted the work of women and children. Various factory and mine acts limited women's and children's employment, and banned them from more dangerous jobs. Children gradually became seen as vulnerable rather than as little workers - the concept of childhood as a separate stage of life emerged. This meant that children were now dependent on their parents as they couldn't work. It became the accepted belief that children needed care and supervision which fell to women. Having to supervise and care for children meant that women's working opportunities became restricted. 
From 1841 up to the beginning of the First World War, a combination of pressure from male workers and from philanthropic reformers (people who wanted to change things for others own good) meant that government introduced many laws that restricted women's employment. Women were seen by many male factory workers as a threat to their employment - they were seen as rivals. By banning women's employment in certain jobs, men could keep the work for themselves and restrict their wives to the home (giving men the power as they earned the money). In 1841, committees of male factory workers called for the gradual withdrawal of all female labour from the factories. In 1842 the Mines Act banned the employment of women as miners. From the mid-1800s to the 1960s, marriage bars were in place in many jobs - these marriage bars meant that women had to leave their jobs when they got married.

The above is a few paragraphs from a booklet on feminism in sociology. I think this could help with my research because it talks about how women have been forced into the way they were, not just what they have been forced into.

Women's Right Video

This is a link to a Women's Right's Documentary i have found on YouTube: although this is mostly about Women in America, this has the views that i would like to explore in the piece (idea 3).

http://www.youtube.com/watch?v=l5k8I4u_jCI

Suffragette Research

Origins[edit]

The term "suffragette" was first used as a term of derision by the journalist Charles E. Hands in the London Daily Mail for activists in the movement for women's suffrage in the United Kingdom, in particular members of the Women's Social and Political Union (WSPU).[2] But the objects of the intended ridicule gladly embraced the term saying "suffraGETtes" (hardening the g) implied not only that they wanted the vote, but that they intended to get it as well.[3]
Suffragists marching in New York, 1915
British suffragettes were mostly women from upper and middle-class backgrounds, frustrated by their social and economic situation. Their struggles for change within society, along with the work of such advocates for women’s rights as John Stuart Mill, were enough to spearhead a movement that would encompass mass groups of women fighting for suffrage. Mill had first introduced the idea of women’s suffrage on the platform he presented to the British electorate in 1865.[4] He would later be joined by numerous men and women fighting for the same cause.
New Zealand was the first self-governing country to grant women the right to vote; in 1893 all women over the age of 21 were permitted to vote in parliamentary elections.[5] Women in South Australia achieved the same right in 1894 but became the first to obtain the right to stand (run) for Parliament.[6] The National Union of Women's Suffrage Societies, which was founded in 1897, formed of a collection of local suffrage societies. This union was led by Millicent Fawcett, who believed in constitutional campaigning, like issuing leaflets, organising meetings and presenting petitions. However this campaigning did not have much effect. In 1903 Emmeline Pankhurst founded a new organisation, the Women's Social and Political Union. Pankhurst thought that the movement would have to become radical and militant if it was going to be effective. The Daily Mail later gave them the name "Suffragettes".[7]
A few historians feel that some of the suffragettes' actions actually damaged their cause. The argument was that women should not get the vote because they were too emotional and could not think as logically as men; their violent and aggressive actions were used as evidence in support of this argument.[8][9]

Early 20th century in the UK[edit]

Memorial edition of The Suffragette newspaper dedicated to Emily Davison
1912 was a turning point for the British suffragettes as they turned to using more militant tactics such as chaining themselves to railings, setting fire to mailbox contents, smashing windows and occasionally detonating bombs.[10] This was because the Prime Minister at the time, Asquith, nearly signed a document giving women (over 30 and either married to a property-owner or owning a property themselves) the right to vote. But he pulled out at the last minute, as he thought the women may vote against him in the next General Election, stopping his party (Liberals) from getting into Parliament/ruling the country.
One suffragette, Emily Davison, died under the King's horse, Anmer at the Epsom Derby of June 4, 1913 Emily Davidson Children were both part of the movement, Both took separate views on the situation. She was trying to pin a "vote for Women" banner on the King's horse.[11] Many of her fellow suffragettes were imprisoned and went on a hunger strike as a scare tactic against the government. The Liberal government of the day led by H. H. Asquith responded with the Cat and Mouse Act.

Imprisonment[edit]

In the early twentieth century until the First World War, approximately one thousand suffragettes were imprisoned in Britain.[12] Most early incarcerations were for public order offenses and failures to pay outstanding fines, with the first suffragettes - Christabel Pankhurst (daughter of Emmeline Pankhurst) and Annie Kenney - imprisoned in October 1905.[13] While incarcerated, suffragettes lobbied to be considered political prisoners; with a designation as political prisoners, suffragettes would be placed in the First Division as opposed to the Second or Third Division of the prison system, and as a political prisoner would be granted certain freedoms and liberties not allotted to other prison divisions, such as being allowed frequent visits and writing books or articles.[14] However, due to a lack of continuity between the different courts, suffragettes would not necessarily be placed in the First Division and could be placed in Second or Third Division, which enjoyed fewer liberties and were for non–political prisoners.[15]
This cause was taken up by the Women’s Social and Political Union (WSPU), a large organisation in Britain, that lobbied for women’s suffrage led by militant suffragette Emmeline Pankhurst.[16] The WSPU campaigned to get imprisoned suffragettes recognized as political prisoners. However, this campaign was largely unsuccessful. Citing a fear that the suffragettes becoming political prisoners would make for easy martyrdom,[17] and with thoughts from the courts, and the Home Office that they were abusing the freedoms of First division to further the agenda of the WSPU,[18] suffragettes were placed in Second Division, and in some cases the Third Division, in prisons with no special privileges granted to them as a result.[19]

Hunger strikes[edit]

Following the refusal for suffragettes to be recognised as political prisoners, many suffragettes began to stage hunger strikes while they were imprisoned. The first woman to stage a hunger strike was Marion Wallace Dunlop, a militant suffragette who was sentenced to be imprisoned for a month in Holloway for vandalism in July 1909.[20] Without the consultation of suffragette leaders such as Pankhurst,[21] Dunlop refused food as a protest for being denied political prisoner status; following a 91-hour hunger strike, and for fear of her becoming a martyr for the suffragette cause,[22] the Home Secretary Herbert Gladstone made the decision to release her early on medical grounds.[23] Dunlop’s strategy was adopted by other suffragettes who were incarcerated.[24] Soon, it became a common practice for suffragettes to refuse food in protest to not being designated as political prisoners, and as a result they would be released after a few days and return to the "fighting line.”[25]
After a public backlash regarding the prison status of suffragettes, the rules of the divisions were amended. In March 1910, Rule 243A was introduced by the Home Secretary Winston Churchill, and this allowed for prisoners in Second and Third division to be allowed certain privileges of the First Division, provided they were not convicted of a serious offense, effectively ending hunger strikes for two years.[26] Hunger strikes began again when Pankhurst was transferred from the Second Division to the First Division, inciting the other suffragettes to demonstrate regarding their prison status.[27]
Militant suffragette demonstrations subsequently became more aggressive,[25] and the British Government took action. Unwilling to release all the suffragettes staging hunger strikes in prison,[24]in the autumn of 1909, the authorities began to adopt more drastic measures to manage the hunger-striking suffragettes.

Force feeding[edit]

In September 1909, the Home Office became unwilling to release the hunger-striking suffragettes before their sentence was served.[25] Suffragettes became a liability because if they were to die in the prison’s custody the prison would be responsible for their death, and as a result, prisons began the practice of force feeding the suffragettes through a tube, most commonly a nostril or stomach tube or a stomach pump.[24] The use of force feeding had previously been practised in Britain; however, its use had been exclusively for patients in hospitals who were too unwell to eat or swallow food properly, and despite the fact that this practice had been deemed safe by medical practitioners for sick patients, it posed issues for the healthy suffragettes.[22]
The process of tube feeding was strenuous; without the consent of the hunger strikers, they were typically strapped down and forced to eat via stomach or nostril tube, often with a considerable amount of force.[28] Many women found the process painful, and after the practice was observed and studied by several physicians, it was deemed to have both short-term damage to the circulatory system, digestive system and nervous system and long term damage to the physical and mental health of the suffragettes.[29] Suffragettes who were force fed were also known to develop pleurisy or pneumonia as a result of a misplaced tube.[30]

Legislation[edit]

In April 1913, Reginald McKenna of the Home Office passed the Prisoners (Temporary Discharge for Ill Health) Act 1913, or the Cat and Mouse Act as it was commonly known. This act made the hunger strikes the suffragettes were staging legal, in that a suffragette would be temporarily released from prison when their health began to diminish, only to be readmitted to prison when she regained her health to finish her sentence.[28] This enabled the British Government to be absolved of any blame resulting from death or harm due to the self-starvation of the striker, in addition to ensuring that the suffragettes would be too ill and too weak to participate in demonstrative activities while not in custody.[24] However, most women continued with their hunger strikes when they were readmitted to the prison following their leave.[31] After the Act was introduced, force feeding on a large scale was stopped and only women convicted of more serious crimes and considered likely to repeat these offenses if released were force fed.[32]

The Bodyguard[edit]

In early 1913 and in direct response to the "Cat and Mouse Act" the WSPU instituted a society of women known as "The Bodyguard" whose role was to physically protect Emmeline Pankhurst and other prominent Suffragettes from arrest and assault. Known Bodyguard members included Katherine Willoughby Marshall and Gertrude HardingEdith Margaret Garrud served as their jujutsutrainer. Members of the Bodyguard participated in several violent actions against the police in defence of their leaders.[33]

World War[edit]

With the commencement of the First World War, the suffragette movement in Britain moved away from suffrage activities and focused the efforts of their organizations on the war effort, and as a result, hunger strikes largely stopped.[34] In August 1914, the British Government released all prisoners who had been incarcerated for suffrage activities on an amnesty,[35] with Pankhurst ending all militant suffrage activities soon after.[36] The suffragettes' focus on war work turned public opinion in favour of their eventual partial enfranchisement in 1918.[37]
Women eagerly volunteered take on many of the traditional male roles – this led to a new view of what a woman was capable of doing. The war also caused a split in the British suffragette movement, with the mainstream, represented by Emmeline and Christabel Pankhurst's WSPU calling a 'ceasefire' in their campaign for the duration of the war, while moreradical suffragettes, represented by Sylvia Pankhurst's Women's Suffrage Federation continued the struggle.
The National Union of Women's Suffrage Societies, which had always employed "constitutional" methods, continued to lobby during the war years, and compromises were worked out between the NUWSS and the coalition government.[38] On 6 February, the Representation of the People Act 1918 was passed, enfranchising women over the age of 30 who met minimum property qualifications (as well as men over 21 - prior to this not all British men were enfranchised).[39] About 8.4 million women gained the vote.[39] In November 1918, the Eligibility of Women Act was passed, allowing women to be elected into Parliament.[39] The Representation of the People Act 1928 extended the voting franchise to all women over the age of 21, granting women the vote on the same terms that men had gained ten years earlier.[40]

Colours[edit]

Pendant presented to Louise Eates in 1909
From 1908 the WSPU adopted the colour scheme of purple, white and green: purple symbolised dignity, white purity, and green hope. These three colours were used for banners, flags, rosettes and badges, They also would carry heart shaped vesta cases, and appeared in newspaper cartoons and postcards.[41]
Mappin & Webb, the London jewellers, issued a catalogue of suffragette jewellery for Christmas 1908.
In 1909 the WSPU presented specially commissioned pieces of jewellery to leading suffragettes Emmeline Pankhurst and Louise Eates. Some Arts and Crafts jewellery of the period incorporated the colours purple, white and green using enamel and semi-precious stones such as amethystspearls, and peridots. However jewellery that incorporated these stones was already quite common in women's jewellery during the late 19th century, before 1903 and could not be connected with the suffragettes, before the WSPU adopted the colours. Also, it is a popular myth that the colours were green, white, and violet, in order to spell GWV as an acronym for "Give Women Votes".[42]
The colours of green and heliotrope (purple) were commissioned into a new coat of arms for Edge Hill University in 2006, symbolising the University's early commitment to the equality of women through its beginnings as a women-only college


I have found this extract from The Suffragettes Wikipedia page. I have highlighted everything that i think would be good to feed back to the group about on Monday.