Thrust Stage and Stage Language

The advantages of using a Thrust Stage:
- Lovely dynamics between the audience and the actors
- Nice change visually than the boring audience one side, actors the other side
- it is also easier to fit more audience member in the theatre space
- It is easier to communicate with the audience 

The disadvantages of using a Thrust Stage:
- Hard to manage backs to the audience and if you are in the audiences way


I think working in this space will help expand my knowledge of being aware of space when trying not to block peoples view and other actors.

I will make familiarise myself with this vocabulary, to make it fast and easy when being directed on stage.

Opening Section - Jan

The sequence we did was synchronised and we made the audience a mirror. We got dressed, putting on a hoodie showing her boyish side and how she wants to be tough like the boys and then putting lipgloss and hoops showing how she was still feminine. Best of both worlds and she tries to fit in with both girls and boys. We also made her seem a bit uncomfortable at looking at herself as though she was being someone she's not. This communicates to the audience that she wants to fit in and is a people pleaser.

This is the song we're using for the opening sequences, i loved this record before hand and I think it fits so well. It seems so happy although if you listen to the lyrics is quite sinister. 
The lyrics:

"But he's coming for you, yeah, he's coming for you" - this could refer to Adam coming back and how he's not actually dead. 

"All the other kids with the pumped up kicks 
You'd better run, better run, outrun my gun"  -  they are kids and "pumped up kicks"  actually refers to the kids with sneaker pumps in the 1990's, which people stole from others and were even willing to kill over them. In DNA they killed Adam over something just something just as stupid, to feel power and to be accepted. As well as this, you'd better run better run out run my gun could relate to Adam and how he should have gone while he still had the chance. 

Annotation and Role On The Wall of Jan

Peer Assessment Sheet On TJ and Ella 

Quick Sketch

Self Observation Online Sheet 

P1 Develop a Role and Make Decisions: 

I think I have experimented with playing my character with different interpretations and have decided with evidence within the script which interpretation I think best fits my character.

M1 Develop a Role and Make Considered Decisions About Interpretation with some Insight and Imagination: 

I think I have definatly used Imagination as my character merely used to be words on a page and has now become with some deep thought, something the audience can relate to visually and emotionally. 

D1 Develop a Role Which Shows Effective Use of Imagination and Insight in the Choices and Decisions made about the Interpretation:
From first not knowing my character to knowing what my character would do shows how i've developed my character into someone I understand using my interpretation and insight. I am learning more and more about her each rehearsal. 

P2 Attend Rehearsals and Performances Demonstrating Personal Management and Technical Skills:
I have brought my script to rehearsals which is personal management and learnt my lines part of technical skills. I will develop them through the rehearsal process.

M2 Attend Rehearsals and Performances and Demonstrate Engagement with the Material with Commitment and Concentration:
I engaged in script annotating which incorporated concentration and I committed to uncovering more about my character.

D2 Attend Rehearsals and Performances and Demonstrate a Purposeful Sense of focus on the work throughout: 
I think that I was focused even off stage, giving people advice and help.

Targets of the Week:

1. Learn Lines. 
2. Get a better understanding of my character whilst using imagination and insight.
3. Incorporate technical skills such as physicality and props within my interpretation of my character.

Rehearsing

In the rehearsals it identified how learning lines made it so much easier to create the physicality of your character and helped you have a scene that flowed with your other actors lines. I was great finally getting the words on a page become something visually more interesting. It was so helpful being directed by miss' opinion of how it should look and how the line should be said. 

Getting the part of Jan and looking her lines I had just assumed she was tough and insensitive. Although, speaking to miss and annotating the script, i learnt she is a people pleaser. When trouble comes knocking, she tries to say it wasn't her fault. Like in my scene when they are describing the terrible things they did to adam she notices people aren't laughing with her and when it gets worse and worse she quickly interrupts "Thats when i went home." trying to completely escape what had happened. As well as this, I walk away and turn my back on Brian when he tells the end of the story like I don't want any more to do with it. Those little things and stage directions happen all in the rehearsal. Thats why it's a really important stage in discovering your character further than what you read about her in the script.

Casting Workshop

The workshop was a great experience of an audition process, it was a challenge giving unfamiliar lines emotion whilst reading the script to the teacher. I read in for a range of character as i was undecided between who i wanted to be, i loved thinking on my feet and experimenting with different characters. It pushed me out of my comfort zone.


As I observed the workshop I kept watching the workshop it was amazing to see everyones take on each character, it was also great to see so many talented actors act. I was so impressed with Daniel as he took on very emotional parts, brian and adam. He played them with so much integrety and grasped both characters so well.

Leah's Monologue

We worked out from the use of subtext in Leahs monologue she almost says the opposite to what she means. It helped us get a better understanding of why Dennis Kelly made Leahs lines like this and how they give an impact to the performance. It also allowed the actor to separate each line and understand the meaning of the words.  Using subtext lets the actor explore the mind of the character.

Stanislavski

• Constantin Stanislavski was born on January 17, 1863 
• He is best known for developing what is called the "Stanislavski method" of acting, in which an actor attempts to identify emotionally with their character. He created the theatre genre that we now call "Naturalism"
• He was a Russian actor and theater director
•  Stanislavski died on August 7, 1938.