PORTFOLIO

Sarea Wynter

PRESENTATION

Portfolio

Overall evaluation

Evaluation

Logbook

Performance

Dance

Duologue

Monologue

Stanislavski

Logbook

Logbook

Index

Logbook, Monologue, Duologue

01

Section one: Research

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This week, I've learned a lot about the performing arts industry and how to collaborate with others in an ensemble. While learning all of these skills, I've also learned how to channel a character and different exercises that can benefit me when playing a specific character. I learned how to imagine myself in various scenarios on Thursday, which helped me consider how I would respond in a certain situation. We completed various exercises in which we had to use our imaginations and pretend that we were living in the present. This not only helped in my understanding of a character but also in my understanding of the scenarios we might imagine ourselves in. We also completed a relaxing and calming activity in which we had to relax our bodies from tension completely.

Logbook week one

LOGBOOK: Week One

The class on Friday focused on togetherness, communication, and teamwork. This is because we had to work in pairs to create a short routine using various actions, such as turns, leaps, etc. Because we listened to each other and shared our thoughts, my partner and I were able to create a simple routine. If we got stuck, we came up with solutions to simple issues and cooperated by using each other's ideas. We were able to perform what we had worked on and felt accomplished by the end of the class. I learned a lot of useful skills and methods this week overall. Using simple moves and gestures, we created a duet while exploring different relationships between dancers and audience members.What went well: - I was able to connect with my partner and share my thoughts if we came across a problem or if I wanted to share an idea. - We were also able to get along with one another since we spoke our thoughts and used each other’s ideas, no matter how big or small they were. Improvements: - Exaggerate my movements a bit more - Become more comfortable with working with someone I’m not familiar with

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LOGBOOK: Week Two

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In Tuesday's lesson, we continued with Stanislavski's given circumstances and used them to create a scene. We were divided into pairs when we were told to use the 5 W's and how to build a scene. This was done to help us understand the characters we were portraying and to enable us to give them additional depth and purpose. This was done to make our characters seem more believable by giving them a backstory and a set idea. My performance has changed as a result of using Stanislavski's techniques to enhance our comprehension of performing arts. I think my understanding of how to become immersed in roles has improved. We kept working in pairs to create a choreography in class on Friday. We improved our dances by adding to what we did the previous week before performing them again in front of our class. This makes me feel more at ease around people I haven't worked with before. These lessons have been beneficial thus far since teamwork advances both my own and others' understanding. Together, we can improve and support one another when we're stuck. Connecting with your partner improves the process and work that goes into the performance and has a significant impact on performances. We were able to talk and analyze what we need to improve on and what we do well with one another as partners, allowing us to work together rather than against one another.What went well: - I learned a lot of new skills and gained an understanding of new techniques to use which I will continue to apply in the future. - I’m becoming more comfortable with different people and I’m also getting to know them and connect with them Improvements: - When using my imagination to create a scene in a setting, I wanna focus on including small details that will help sell my performance to the audience. - To be more bold with my choices and to always be confident in my ability

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LOGBOOK: Week Three

We talked about building tension in scenes in our lesson on Monday. To assist us in constructing a situation where tension was building, we used Jacques Lecoq's seven levels of tension. There are several ways to build tension, such as a heated argument. Or perhaps the ability to create tension and suspension through silence. It's important to keep in mind that tension can be created without the use of words since it can also be expressed through body language. We had to act out a scene where tension was building without saying anything when we were divided into groups. To accomplish this, we had to use our facial expressions and body language. Eye contact was one of the techniques we used to develop suspense in a situation as a result of this. In pairs, we had to maintain eye contact for a certain amount of time before moving close to our partners. This is an effective way to create a tense atmosphere because eye contact is an effective method for creating a tense atmosphere in scenes.We discussed intentions and their definition in class on Tuesday. We wanted to be clear about our intentions while acting, so we used a variety of methods to accomplish this. In small groups, for instance, we might convey an intention through body language. I would approach an audience member from a distance, make eye contact, and hold that eye contact while crossing my arms if I wanted to convey the impression that I was trying to intimidate them. Or, I could stand up close to an audience member and stare at them whilst giving an intimidating look. We also used the words "yes" and "no" to indicate our intentions. For example, I was given the intention of wanting to hug my partner but was only allowed to answer 'yes'. This was helpful for me since I was able to alter the tone and pitch of my voice to appear as though I was saying something other than "yes.” To demonstrate an intention, we also had a student from the class speak in a different language. This makes it easier for the audience to concentrate on the actor's body language to understand what is being said. As a result, the audience is more conscious of their behavior and the actor's actions are somewhat easier to comprehend. As we were listening to one of our students speak a different language, I observed her body language was quick and frantic, making it obvious that she was upset about what she was expressing.

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LOGBOOK: Week Three

- We discussed events, or times when the script changes, in class on Thursday. This was crucial because it allowed us to comprehend the effort required to play a character. It's essential to consider even the smallest details of a character and how their intentions or certain events could change them. To continue with our 'secret' script, we developed the scene to create an intention and a meaning. This made our performance more realistic and meaningful by allowing us to concentrate on the crucial elements and specifics that we could have missed the first time. My partner and I came up with the idea to stage a situation in which I was the boss and my partner was my friend and employee. The friend, however, had been experiencing financial difficulties for some time to the point where they were forced to live on the streets. When my character learned that her attempt to offer assistance had been denied, she was shocked and upset. I considered the reasons behind my character's unhappiness and how they would still offer assistance. I imagined that my character would provide her friend with housing and financial assistance. - Due to the need to concentrate on the emotions, reactions, and the situation itself, these minor elements impacted how I portrayed this character. This was difficult but also helpful because I felt like I could portray my character in a way that was authentic and had a thought process behind it. I was able to better understand my genuine motivations thanks to this practice - Overall, this week helped me with the depth of information that I need to go through to portray the character that I’m playing. Knowing all these techniques, I will continue to use them to develop and create better performances.

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Key reflections for Week Three

- I was able to focus on using my imagination to create a more developed performance and character which helped me gain an understanding of my character’s intentions - Using intentions helps make the character that I’m playing seem more realistic and believable, it also helps me play the character better since I know the intentions of the characterKey Tips:-Figuring out your character's purpose and intention can help not only the actor but the audience when understanding what is going on. It makes the performance more clear and realistic, therefore making the performance more interesting to watch.- The smallest details matter in creating a strong and meaningful performance, the small details such as actions (what is the character doing), where are they? (setting the scene in a specific place to help imagine where everything would be), why are they doing what they're doing? (what is the reason for their actions), how they are doing it? (different dynamics), when are they doing it? (is it set in the daytime or the evening?)- Knowing this helped me play the roles of Mariane (Duologue) and Gillian (Monologue) because I thought about the smallest details to make these roles interesting to watch and perform

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Logbook: The start of my dance performance

The class on Friday focused on togetherness, communication, and teamwork. This is because we had to work in pairs to create a short routine using various actions, such as turns, leaps, etc. Because we listened to each other and shared our thoughts, my partner and I were able to create a simple routine. If we got stuck, we came up with solutions to simple issues and cooperated by using each other's ideas. We were able to perform what we had worked on and felt accomplished by the end of the class. I learned a lot of useful skills and methods this week overall. Using simple moves and gestures, we created a duet while exploring different relationships between dancers and audience members.

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Konstantin Stanislavski

Konstantin Stanislavski was a Russian stage actor and director who developed the naturalistic performance technique known as the "Stanislavski Method" or method acting.

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Naturalism and Realism

Moscow Art Theatre

Who was Stanislavski?

Logbook: Stanislavski

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Konstantin Stanislavski: Developed research

Our demands are simple, normal, and therefore they are difficult to satisfy. All we ask is that an actor on the stage live in accordance with natural laws. - Konstantin Stanislavski

- As a serious theatrical practitioner, he made careful notes and evaluated his work, a habit he followed from the first steps in his career. Later he was to write major texts on the art of performance: - My Life in Art - An actor prepares - Building a character - Creating a role

Konstantin Stanislavksi: Developed Research

Given circumstances - The information you start with regarding the character and the play as a whole is considered the given circumstances. What is the character's age? What role do they play in the play and how do they fit in with the other characters? These notes and stage directions may not give everything needed to know about creating a character, but they are the beginning point from which you will try to answer the remaining questions.Emotional memory- When an actor uses emotional memory, they are able to recall a real-life instance in the past where they encountered a feeling that is similar to the one required for the character they are playing. They 'borrow' those emotions to give the role life.Stanislavski provided a route map for exploring what he called "that conscious road to the gates of the unconscious", which is the foundation of modern theatre. And it is a map that no actor, even today, can afford to ignore - Michael Billington, The Guardian. 9 May 2009

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Monologue: Dags by Debra Oswald

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DAGS

Gillian finds it hard to cope with her bright sister, who is not only together physically but has a bouncy positive mental attitude. So when she develops a crush on the school heart-throb, Adam, she feels pushed to the edge to be known and popular to get his attention. But in a surprise ending, Gillian succeeds with a moment of self-awareness and confidence. The importance of the whole play is to develop a sense of self-reliance and self-respect. It is about learning to find yourself and your worth.

DAGS is an excruciatingly funny and compassionate journey through the world of adolescence. Originally commissioned by Canberra Youth Theatre in 1985, it has become one of the most definitive and popular Australian plays for young people ever. Gillian is 16. She's interesting, erudite, soulful, romantic and she's a dag. She's a misfit, an outcast, a chocolate addict, on a desperate quest to be beautiful and popular. Written by Australian playwright Debra Oswald, Dags is an Australian play set in the 1980's. The hilarious comedy portrays the life of high school student Gillian, who is a daggy, insecure teenager who lacks self-confidence and believes that there is no point in life.

DAGS THEMES: Self-discovery

Debra Oswald's drama "Dags" examines the themes of infatuation, self-discovery, and adolescence. Gillian, the main character, is a sixteen-year-old girl who worries about not having a boyfriend and is infatuated with the most attractive boy in school. The play offers a humorous and sympathetic look at the difficulties of puberty, such as acne, heartbreak, and self-discovery. "The process of acquiring insight into one's own character" is the definition of self-discovery. It is a voyage of self-discovery and belief formation. It can be a journey of self-discovery that aids in improving the understanding of one's needs, wants, and motivations. A life-changing experience that promotes personal development is self-discovery. It can aid in self-awareness development and the identification of one's assets and liabilities. It can also assist someone in developing a clearer understanding of their objectives and dreams and in making better life decisions. Essentially, self-discovery is an introspective process that aids in a person's understanding of who they are and where they fit in the world.

DAGS THEMES: Puberty

How it physically affects teenage girls: For teenage girls, puberty is a time of major physical and emotional transformation. The development of the reproductive organs, including the ovaries and uterus, and the release of sex hormones signal the start of puberty. For teenage girls, the changes that come with puberty can be both thrilling and difficult. Gillian feels that she is not attractive enough to be loved or appreciated. Teenage girls go through emotional changes during puberty, and Gillian is no exception. She starts to worry about how other people see her or perhaps develops body insecurities. Gillian is unable to stop overthinking and doubting herself all the time. To meet another person's standards, she would rather erase all of her imperfections than embrace and accept them. As she looks for her purpose and learns to accept who she is, this starts to happen a lot. Although mentally, emotionally, and physically exhausting, the journey towards self-love will ultimately be worthwhile.

My opinion On The Play:

In my opinion, "Dags" is a play that realistically depicts adolescent life. It displays vulnerabilities and difficulties in experiencing self-satisfaction. It captures Gillian's desire to "fit in" and experience "love" from others. Even though she needs to first learn what love means, she believes that Adam will provide her with the confidence or love that she so urgently needs. Love is more than just having sex or being intimate without a companion. It's a relationship that has been built between lovers who genuinely adore one another. Before one can truly love another, one must first love oneself. Love is about communication, trust, health, loyalty, and many other things. Building a relationship in order to create something unique takes time and requires effort. It involves trust and patience, two characteristics that I think are crucial to love along with communication. I feel like Gillian hasn't considered the depth of love that exists, and when she talks about how much she loves Adam, she could not be loving him as a person—rather, she might just be adoring the concept of having a lover. Loving someone for themselves is not the same as loving someone as an idea. For me personally, I believe that Gillian needs to know what love means to her as she craves attention, whether it is genuine or not.

My opinion On The Play: Self-love

I see self-love as a journey. Since no journey is simple, this one isn't either. It's one that Gillian still doesn't understand, but it calls for acceptance and patience. To love oneself is to love what you see in the mirror—that is, to appreciate your imperfections, your strengths, your scars, and the image of yourself. Although it may take months or even years, self-love is a means of recognizing who you are as a person with significance and purpose. One person who needs to put her needs first is Gillian. Even though Gillian's experiences are typical, that doesn't imply she shouldn't work towards her own needs and values. The ideas of acceptance and self-love are similar. It's about embracing who you are, your loves and dislikes. Social media, teenagers, publications, and a variety of other factors contribute to the prevalence of insecurity. However, there's a chance that it could also be harmful. It can be risky since some people will go to great measures to "fit the standards" or become "prettier" by paying for operations. Even though having numerous operations isn't always a terrible thing, it shouldn't be done in order to conform to the expectations of others. Before one may genuinely feel worth it, one must learn to love and accept oneself. The most crucial thing is to make sure they understand how valuable and significant they are.

Duologue: Tartuffe

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What the play is about? - When the head of a wealthy French family falls under the influence of a shady character, Tartuffe, the family becomes desperate to uncover the fraudster's true nature. Tartuffe explored the danger of religious hypocrisy and proved highly controversial with the French Catholic Church.Tartuffe’s superiority lies in the fact that he can accurately analyze the weaknesses of his victims and then exploit these flaws for his own advantage. He is no simple or ignorant charlatan; instead, he is an alert and adept hypocrite who uses every means to bring about his success.

Tartuffe: Duologue research

Mariane: Character analysis

Mariane: - Mariane loves Valere but is used to saying yes to everything her father Orgon asks. She’s spoiled and can’t make decisions for herself which affects her relationship with Valere - In Act 1 scenes 1 and 2, Mariane barely gets a word out and Dorine does the talking - showing her uncertainty and anxiousness - She’s inexperienced as her father has gone off the deep end - she’s trusted her father who has helped her make good decisions in her life

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My opinion on Mariane

Mariane, in my opinion, is a character who lacks confidence and self-belief. I believe this is the case because she hasn't been able to think for herself and provide for herself because she relies so heavily on her father to make decisions for her. She is unable to support herself as a result, and she finds it difficult to stand up for what she thinks is right and wrong. Mariane adores Valere, but she was unable to defend herself when her love was in jeopardy because she had grown used to her father making decisions for her. Even though she is not physically weak, she lacks bravery and confidence in her mind. She would have felt more secure in her own beliefs and could have remained with Valere if she had simply spoken up against marrying Tartuffe. Despite her stubbornness and refusal to admit weakness, she is deeply impacted by her father's actions. Even Dorine is aware of how hurt she is, yet she becomes irritated that Mariane isn't standing up for her relationship with Valere. Mariane is someone who is afraid of change. She has become accustomed to her father making all of the decisions in her life. She worries that she won't succeed in life or be able to live comfortably if she is forced to make her own decisions in the future. She fears that this shift will mean that she won't have her father to help her create the kind of life she should lead on her own. Her statement that "he threatened to cut off my money" demonstrates how her father has provided for her financially throughout her life and demonstrates her sense of dependence on him.

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Mariane

Mariane is not happy about Orgon’s decision to marry her off to Tartuffe. In Act Two, Scene III of the play “Tartuffe,” Mariane is unable to resist Orgon’s power and refuses to marry Tartuffe. She even declares that she would rather kill herself than marry Tartuffe 1. In Act Four, Scene III, Mariane falls to her knees and begs her father not to force her to marry Tartuffe. She says that if she cannot marry Valère, then she may need to consider more “desperate” options. "Orgon is almost swayed, but when Mariane says that she would rather become a nun than marry Tartuffe, her father grows angry again, telling his daughter that the more she loathes Tartuffe, the more “ennobling” it will be for her to marry him. He becomes even more harsh, ordering her, “Marry Tartuffe, and mortify your flesh!” - https://www.litcharts.com/lit/tartuffe/act-4-scene-3

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Dorine: Character analysis

She is the sharp servant who sees through every facade, and despite being in a lower social standing than others, she always wins in a battle of wits. Dorine attracts our attention with her endearing wholesomeness, her straightforwardness, and her direct honesty despite being surrounded by the delusional and corrupt Orgon, the hypocrite Tartuffe, and the ineffective Mariane. Dorine would serve as Mariane's companion and part-time servant in the social structure of the time. This explains why she is more approachable than a usual servant. She is the one who humorously communicates most of the audience's frustration since she consistently comes across as the person who is extremely capable of seeing the truth among hypocrisy and fanaticism.

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Orgon: Character analysis

In contrast to Tartuffe, who is a hypocrite and a crook, Orgon has a considerably more complex personality. He had undoubtedly rendered the king's service with honor in the past and had managed the king's lands in a cautious and dignified manner. It is implied that he was a rational man who was respected by his family and friends before the play began. Thus, the question of how he came to be such an outrageous and ridiculous person is addressed. Some critics have argued that now that Orgon is of middle age, he needs to associate himself with a religious figure, and Tartuffe is the most approachable. The play has numerous scenes that make fun of those who can no longer function properly in society and who eventually leave society and begin to fight against it. However, Orgon's religious fanaticism appears to be more closely tied to his fundamental nature, which Cléante describes as being extravagant and uncontrolled in all ways.

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Valere: Character analysis

Mariane, the daughter of Orgon, is the fiancée of emotional and sometimes naive Valère. Disappointed and enraged, Valère even snaps at Mariane when Orgon tries to call off the engagement and wed Mariane to Tartuffe. Nevertheless, love wins out in the end, and the two are reunited. "He's simply a victim of circumstance, circumstance in this case meaning Tartuffe's trickery. He comes through when things are at their worst."Although Mariane doesn't speak up for Valere, Valere still loves her and may be annoyed by this. It may irritate him to know that his true love feels powerless in the presence of her father and is afraid to express her thoughts for fear that they would be incorrect. Though Mariane and Valere both want to be right above wrong, Valere may be just as stubborn as Mariane despite her love and caring nature.

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Themes in the play: Hypocrisy and Religion

The comedy-satire "Tartuffe" by Moliere delves into a number of themes. The most frequent theme is that of hypocrisy. Tartuffe, the main character, is a hypocrite who engages in immoral behavior while preaching Catholic principles. His deceit spreads like wildfire, disrupting Orgon's whole home. The difference between passion and rationality is another issue. Cléante, Dorine, and Elmire utilize reason to oppose Tartuffe, while he exploits emotion to trick everyone around him. The issues of religion, faith, and morality are also explored in the drama. Religion and society were tightly associated in French culture at the period, and devotion was seen as a vital component of daily existence. Tartuffe abuses religion, and his displays of faith stand in stark contrast to the modest yet genuine faith of someone like Elmire. Moliere illustrates in Tartuffe the value of fatherhood and the family as well as the terrible consequences that result from the corruption of these institutions. The effects Orgon's home faces as he continues to sink deeper and deeper into Tartuffe's trap reveal the patriarch's pivotal role in the family. This reality defies Orgon's own worry that his kin will find him ridiculous and unimportant. There is no denying Orgon's significance to his family, despite his incorrect decisions, the most serious of which is to believe Tartuffe. He can torture his servant, Dorine, disown his son Damis, force his daughter Mariane to marry someone she doesn't love, and make his wife Elmire spend time with a man who wants to molest her. Quote Cleante:" How do you fail to see it, may I ask? Is not a face quite different than a mask? Cannot sincerity and cunning art, Reality and semblance, be told apart?"

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Themes in the play: Appearances

Moliere demonstrates to his audience throughout the play the true complexity of the issues surrounding appearance and beauty. For example, even though Dorine is a humble servant, she has a strong spirit and a sharp mind. However, Madame Pernelle lacks any knowledge or understanding at all, even with her high social standing. The conclusion of the inquiry into appearances occurs when Elmire, upon Orgon's refusal to trust her, chooses to reveal the whole extent of Tartuffe's betrayal. Elmire then takes advantage of her husband's confidence in appearances to her own benefit, enabling him to witness firsthand the deceitfulness of his purportedly saintly "friend." This fascination with outward appearances and beauty is evident in all of Moliere's writing, which is composed of rhymed couplets. Moliere aspires to have clarity and elegance in his plays, utilizing language that both expresses his vision for the story and showcases his talent as a poet.Quote Elmire: "I am amazed, and don’t know what to say; Your blindness simply takes my breath away. You are indeed bewitched, to take no warning From our account of what occurred this morning."

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My opinion on Tartuffe:

In my opinion, Tartuffe by Moliere effectively conveys the significance of religion as well as the deceitfulness of words. It demonstrates how someone's views may be effortlessly manipulated and used to trick someone. Orgon, a devout follower of his faith, is deceived by claims that appear real but are false. Orgon's strong beliefs cause him to be negatively influenced, which has a negative impact on the family. This intrigued me because it demonstrated Orgon's extreme trustworthiness, to the extent that his entire family was vulnerable to deception. Orgon is seen as a sort of "center" of the household, and the household listens to what he says, based on my research and interpretation of the play. Moliere, in my opinion, did a good job of illustrating this since he highlighted how all of the family members—aside from Orgon—were able to identify the lies Tartuffe was claiming to be true. There are many intriguing aspects to learn from this play overall. Someone is not necessarily who they say they are, even if they make such claims. It demonstrates how a person's faith and beliefs may cause blindness. Having beliefs is OK, but not when someone abuses them to turn one's own religion against oneself. Moliere might wish to convey a message highlighting the value of communication and the importance of family. What would have occurred if Tartuffe had deceived the family? What would happen if Tartuffe's scheme worked? These are the kinds of questions I asked myself if Orgon hadn't realized the circumstances he had put himself and his family in.

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My opinion on Tartuffe:

I found myself wondering "what if" a lot as I read the play. I also considered the 'magic if' theory of Stanislavski and how I applied it to my portrayal of Mariane. Placing myself in Mariane's position and considering how narrow-minded and stubborn Mariane has helped me give a better performance. I was drawn to the play Tartuffe because of its deep meaning and the way it illustrates how one person's influence can result in a great deal of chaos. Hypocrisy - the act of claiming that one has more high standards or ideals than one actually possesses. It is a circumstance where someone acts as though they believe something that they do not genuinely believe in, or that contradicts what they say or do in another circumstance. Oftentimes, hypocrisy is linked to dishonesty, trickery, and deception. Chaos can arise from hypocrisy in a number of ways. People can lose credibility and trust when they pretend to have higher standards or more noble ideas than they actually have. This can lead to uncertainty and confusion, particularly when individuals are seeking direction or leadership. Because they believe they have been tricked or misled, individuals who exhibit hypocrisy may also become resentful and angry. This may lead to a harsh environment that is unsuitable for healthy relationships. People may even grow enraged and dissatisfied with people who pretend to be moral yet behave in ways that go against their professed beliefs when hypocrisy occurs. In order to establish a secure space where family members may share their views and feelings without worrying about criticism or judgment, it might be helpful to encourage open and honest communication within your family. Mutual respect and trust may be developed in this way. I believe that the family should work on their communication skills to prevent people like Tartuffe from tricking them again.

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Choreographing, creating, performing

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Section two: Dance

DANCE

For the assessment which was on November the 2nd, my partner and I were able to create a dance performance that emphasized friendship. For the first eight counts of our performance, we discussed several movements including leaps, turns, gestures, shifting of weight, etc. In order to connect and make our movements flow more naturally, we experimented with various of transitions, which helped us perform better. We used our communication skills, which are beneficial since they let us voice our thoughts and opinions. My partner and I were able to collaborate well because we were open and honest with one another, which improved our performance as a whole. I also picked up a lot of additional skills from this that improved my performance and communication with my partner. I had to learn how to work together with someone I had never worked with before, which initially gave me anxiety. However, as time went on and I was able to interact with my partner, I grew more at ease and comfortable with them. I believe that stepping outside of my comfort zone allowed me to become open to the idea of working with different people. Everyone has different opinions, and by working with my partner, I was able discover habits that enhanced my performance and we were able to share ideas. For example, if I had an idea, I could present it to my partner and they could either use it exactly as it is or develop it to have a more significant effect on our performance. Before performing our earlier routine for the assessment, we also viewed our drafts of it to see what we could improve or to watch it again to make sure we remembered what we had done. We made sure to express any issues that occurred during our routine while applying our skills of communication. In order to make the other partner more comfortable and able to pick up the movement more quickly, we would go over the movement or break it down if someone was having trouble with it.

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"Kate Prince is a Director, Writer, and Choreographer. She is also the Artistic Director of ZooNation: The Kate Prince Company which she founded in 2002. Kate is an Associate Artist at The Old Vic and Sadler’s Wells, where ZooNation: The Kate Prince Company is also a Resident Company."https://www.bbc.co.uk/programmes/profiles/g04vCfSrF1yv52531z6yjx/kate-princeFounded by Kate Prince in 2002, Zoonation is mostly known for its theatrical works, creating full-length narrative performances that are greatly influenced by hip-hop culture and music. As a choreographer for music acts on TV and in music videos, Kate was drawn to the extraordinary skill of the dancers supporting the performers. In order to showcase the abilities of these "backing dancers" and provide them with a stage on which to perform as independent artists, she formed ZooNation. A 'backing dancer' had very few professional opportunities at the time, but dancers who performed in contemporary, ballet, or musical theatre had numerous employment possibilities.

DANCE PRESENTATION: ZOONATION (WHO IS KATE PRINCE)

ZooNation, a company heavily influenced by Hip-Hop music and dancing, identifies Black Culture as an inspiration. These company pledges were formed in response to George Floyd's death and the increased attention and understanding that the Black Lives Matter movement was rightfully and finally gaining recognition. As a company that draws inspiration from Black culture, ZooNation makes it a point to establish, support, and uphold environments where Black artists and Black culture are valued, understood, and appreciated. What they have done:- Conducted anti-racism and unconscious bias training for staff and artists inside the company.- Created a Behind the Scenes initiative (to increase the diversity of those working backstage) - Provided dedicated time and place for ZooNation Youth Company to express their feelings and complaints while also developing their abilities.- Paid attention to their artists and are making an effort to meet the unique hair and makeup requirements of their performance artists - Developed educational resource packs to go along with their production work, all of which offer insight into Black Culture

DANCE PRESENTATION: ZOONATION (WHO IS KATE PRINCE)

What they have done:- Experienced Black artists to become members of their team and participate in business initiatives and plans that reach out to the Hip-Hop community beyond that which ZooNation is currently familiar with.- Opportunities for financially supported career development reserved especially for Black artists or those from historically underrepresented communities in financed cultureWhat they haven't haven't done but are working toward:- Experienced Black artists to become members of their team and participate in business initiatives and plans that reach out to the Hip-Hop community beyond that which ZooNation is currently familiar with.- Opportunities for financially supported career development reserved especially for Black artists or those from historically underrepresented communities in financed culture

DANCE PRESENTATION: ZOONATION (WHO IS KATE PRINCE)

Votes for women at a turning point in British history, and a broken family. Kate Prince tells an incredible story at the center of the suffragette movement through dance, hip-hop, soul, and funk, 100 years after the first women in Britain were given the right to vote. With original music by Josh Cohen and DJ Walde and co-written by Kate Prince and Priya Parmar, Sylvia is a contemporary musical celebrating the life of Sylvia Pankhurst, her crucial role in the fight for women's rights, and the cost of the passion and politics that split her family apart. The narrative walks the audience through the struggles women had both before and after they were granted the right to vote. The ensemble of Sylvia examines the path of how politics and love can lead to conflict amongst loved ones with captivating dance and heartfelt, committed music. It portrays Sylvia as an admired female character that many people, including women, may look up to and demonstrates her determination in the face of numerous challenges in her fight for female involvement in politics.

DANCE PRESENTATION: SYLVIA

SYLVIA

A stunning dance-theatre production, Message in a Bottle, features Kate Prince, a triple Olivier Award candidate, performing songs by music legend Sting, such as Roxanne, Every Breath You Take, Walking on the Moon, Fields of Gold, Englishman in New York, and Shape of My Heart. Suddenly, a community full of celebrations is under attack. Everything is always changing. The three separated siblings (Leto, Mati, and Tana) go off on their own incredible adventures with courage and determination. Message in a Bottle is a crucial and inspiring tale of humanity and hope, set to a soundtrack of Sting's songs and featuring a fusion of thrilling dance forms, stunning footwork, and astounding athleticism. "The production features the astonishing talents of dance storytelling powerhouse ZooNation and brings together a world-class award-winning creative team, including new musical arrangements by Alex Lacamoire (Hamilton, Dear Evan Hansen)." This performance conveys the value of determination even in dangerous and potentially dangerous situations. When presenting this theatrical production with an important message, the performance about humanity and hope grabs the audience's attention. The siblings embark on a journey to discover what they perceive to be hope and to demonstrate the challenges they face, demonstrating the true meaning of hope.

DANCE PRESENTATION: MESSAGE IN A BOTTLE

MESSAGE IN A BOTTLE

LOGBOOK WEEK FOUR:

We spent Monday focusing on getting ready for Thursday's first assessment. We received the identical duologue, so we could watch Group 1's performance in advance of our assessment. Observing the pair in Group 1 perform Tartuffe, my attention was drawn to the way they embodied their roles. They maintained eye contact and made a lot of intimate contact, which I thought highlighted the tension between them. Their delivery of their lines was not like ours. Even though they spoke their lines considerably more quickly, my partner and I felt it would be beneficial to take pauses to increase tension and speak more slowly. We were able to get knowledge about various approaches to doing our dialogue. Both my partner and I found some of the other duologue partners' movements and actions to be appealing, and they found some of our work to be appealing. We were able to share knowledge and support one another in getting better performances. This also demonstrated to me how different people interpret the same script in different ways and how each person interprets it differently. To generate a similar performance with a different mental process demonstrates how distinct and unique each person's mind is. This was beneficial to me because it allowed my partner and I to work on our areas of improvement and enhance our performance. We talked about the ways in which we may highlight particular moments with our facial expressions. We were experimenting with our facial expressions to determine which worked best for certain situations. Because of the relationship between our characters, we also experimented with closeness. This tight proximity would improve the action by escalating the tension between the two characters. My partner and I aimed to demonstrate Mariane and Valere's stubbornness by highlighting the humorous aspect of their back-and-forth bickering through their snarky remarks and rapid reactions.

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LOGBOOK WEEK FOUR:

We made the decision to use the final two lessons of the week to practice for our assessment. I worked on my vocal projection while practicing my lines throughout the rehearsal. I would practice speaking over the lines at a greater volume so that I could have an understanding of how loud I needed to be in order to make sure I was heard at all times. I also concentrated on what I would do and how I would execute it. I would play out this action, slowing down or speeding up depending on the sentence, since I imagined my character to be in her bedroom filing her nails. For example, I would increase the action if my character was experiencing jealousy to demonstrate how carefully I had thought out and researched my character. It was simpler for me to act like Gillian when I put myself in her position. In order to rehearse my duologue as accurately as possible, my partner and I would envision the scene and our location. As a result, it was simpler to decide what to do because we could picture where we were, demonstrating our attention to detail. We experimented with the levels to create a sense of balance in the performance; occasionally, my character would remain sitting while my partner's character would stand. Targets:- Experiment with different actions to observe which ones look more natural. This will benefit me in future performances and help my character seem less forced and more natural.- Talk with my partner a little more frequently to make sure we are both on the same page and to schedule practices.

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Evaluation and Overall evaluation

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Section three: Evaluation

MONOLOGUE EVALUATION

I thought my monologue was the best I could have done when I was performing it. I believe this because I concentrated on how I projected my voice and how I acted. I focused more on how I delivered the lines rather than worrying about forgetting them. Because of our similar ages, I was able to relate to my character as I was practicing my monologue. I believe that because I could relate to my character so well, it helped to make my performance seem more authentic and natural. While there were significant differences between Gillian and me, I also noticed some little similarities. This advice was given to me after seeing the college production "Refractions." I adapted one of the actors' remarks about discovering similarities and differences between you and your role into my monologue. Even though my rehearsals went quite well, I still had some difficulties doing my part. I wasn't sure how to interpret my body language at first. I simply spoke the lines without giving them any thought, not paying attention to what I was doing. I studied my character and paid attention to my body language as soon as I was advised to have stakes. This allowed me to justify why I was filing my nails, which helped me deliver a better monologue. I filed my nails to represent Gillian's need to feel appreciated and respected because my character is insecure and self-conscious. She believed she would succeed in her attempt for a sense of self-identity if she could figure out how to seem more appealing. I behaved frustratedly when I made a mistake in filing my nails to demonstrate that I acknowledged my character's frustration at not getting her desires. This also enabled me to give my actions a purpose, which helped me add stakes to my piece. I was able to play Gillian more effectively by concentrating on these little details, and I applied and understood the advice I received in my monologue. I also struggled with projecting my voice. I've had trouble projecting my voice in the past because I would occasionally become too quiet, which would cause the audience to miss my words. I would practice the delivery of my lines while experimenting with varied pitches and volumes. I was able to determine which one seemed real by doing this, coming out of my comfort zone in the process. Playing with the volume improved my understanding of my monologue.

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MONOLOGUE EVALUATION

Though I'm quite happy with my performance on the assessment, I believe I could have played more with my actions and delivered some of my lines more effectively. I occasionally stopped what I was doing to glance at the audience or at the picture frame that was intended to represent Gillian's teenage crush, Adam. These moments were intended to highlight my feelings and how my character is constantly doubting or looking down on herself. This relates to self-love and self-discovery, emphasizing that Gillian must learn to love herself before she can love another person. As I begin my monologue, I file my nails to give the impression that my character is thinking about her crush, but in order to make the performance more moving, I gently turn to gaze at the photo frame. I have a brief pause there to demonstrate how I'm expressing my emotions. The silence represents her feelings rushing in as I portray a grin to demonstrate how Gillian loves Adam and wants to be loved, but that smile gradually disappears as she recalls that she doesn't think she's attractive or worthy enough to be with a popular high school student. This small attention contributes to the portrayal of Gillian's life as she goes through puberty and the emotional aspects of it. It demonstrates how she experiences several emotions at once, which sometimes overwhelms her as she doesn't know why she is experiencing so many emotions at once. Following the silence, I turn away from the picture and sigh to show how Gillian's description of him makes her seem both hopeful and frustrated. My character's self-doubt is made evident to both the audience and myself when she conveys her feelings through her continuous reflection. In addition, Gillian feels overlooked or unappreciated, believing that in order to feel accepted, she must become popular and attractive.In conclusion, I think that after studying and practicing the play, the significance of the play, and Gillian, I was able to perform her monologue rather well. She's an insecure teenager who wants to be loved and accepted, and I thought about her mental state and how she feels that she won't meet anyone's definition of beauty standards and that she will never find love. The play conveys a powerful message of discovering oneself and coming to terms with your weaknesses, imperfections, strengths, and flaws.

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DUOLOGUE EVALUATION

I believe that throughout my duologue, my partner and I were able to convey a humorous and sarcastic duo that highlighted the value of both communication and emotions. We have communicated Mariane and Valere's stubbornness in numerous ways. They will argue until it is resolved or has no use. One method was that we concentrated on how to approach our lines at one of our rehearsals. To assist us in remembering our lines and getting into the mentality of performing in front of an audience, we experimented with our sound and pitch and even gave a class performance of what we had so far. This was beneficial to us since, at the end of our performance, we received feedback on how to enhance the work we had already done. To make it easier for my partner and me to perform, we had to make sure that we understood the purpose of the duologue as well as the given circumstances we were given. We were in Mariane's living room, and since the two were spending time alone together, Valere had "jumped out a window" or snuck out of the house to avoid being caught. These ideas enabled us to pay closer attention to details, which enhanced our performance and evaluation. My partner and I had some trouble setting and remembering our lines, despite all the great feedback we were receiving. Our teacher advised us to establish an understanding of the layout and appearance of the house. This makes it easy to comprehend how we were setting up the scene to seem more authentic. After considering the contents of the house, we began to build the vision we had in mind and proceeded from there. My partner and I both had some difficulty recalling our lines. We overcome this by reading our dialogue aloud several times and then gradually reviewing our actions without referencing a script. We developed the flow of the play by reading the duologue several times, which improved our performance as a whole. By having one of us read the script and the other perform our part without the script, we were able to help each other remember our lines. As we progressively learned our lines by heart, this improved our memory. Another method we used to recall our lines was by playing memory and concentration games. In this game, we had to pass a little ball around the circle while saying someone's name. The purpose of this game was to practice staying vigilant and focused on passing objects around while simultaneously saying someone's name.

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DUOLOGUE EVALUATION

In order to increase the difficulty of the game, we also had to make eye contact with someone before approaching them in order to focus better. This game, in my opinion, is an effective way to train our brains to focus and pay attention when multitasking. That game taught us something that my partner and I were able to incorporate into our duologue. We became more vigilant after doing this exercise, and when it came to acting, we concentrated more on doing than recalling. Your performance and attitude towards the performance both increase when you concentrate on your actions rather than lines. My partner and I were able to improve our memory and focus by playing this game. Mariane's inability to stand up for herself is seen in the dialogue when Valere states that he believes Mariane is not committed to marrying Tartuffe. I believe this because of the way my partner approached his lines with a disappointed demeanor, given his knowledge of Mariane's father's level of control over her life. My partner felt it would be appropriate to deliver those remarks in a way that conveyed his feelings, implying that she might be the reason they had to call off their engagement. This further demonstrates the two individuals' lack of communication, which adds to the comedy of our duet. Given how immature they both are, it may be interpreted as a means of communication between them rather than something more serious. Although he believes Mariane may not be as committed or determined as he is to preserve their relationship, Valere still loves Mariane. My partner and I did this to demonstrate our knowing of and dedication to our duologue. Given the knowledge, along with our own analysis, we were able to move forward with our piece and execute it with the knowledge and skills gained from research. Overall, I think that my partner and I gave an effective understanding and a well-researched review of the play Tartuffe when we performed our duologue. To make sure we were both at ease and prepared for the performance, we overcame our issues and challenges during the rehearsal process and assisted one another in getting ready for our assessment. The memory-boosting activities we played proved beneficial as we discovered several methods to recall our lines more quickly and effortlessly. With further assistance from our peers, we were able to work on our duologue with a sense of assurance and readiness for performance.

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DANCE EVALUATION

Together, my partner and I were able to create a routine for our dance performance that we could both do and that had a deeper meaning. The bond between two friends who grew up together was the theme of our performance. We included contact movements to symbolize their friendship and demonstrate their unity and persistence throughout time. Their tight bond, which was formed several times during the performance, also served as a symbol of how solid their friendship was. We would mirror each other's actions to demonstrate how in sync they were with one another, further demonstrating the deep link and establishing a sense of security between the two friends. My partner and I were able to discuss our ideas and share methods for making our work better by talking about them and coming up with a dance. We also checked to see if each of us could perform specific moves and was at ease. Even though my partner and I occasionally had trouble coming up with a routine or a narrative, we were able to get beyond this and concentrate on coming up with an action, after which we would expand it further. This enabled us both to step outside of our comfort zones, be vulnerable, and learn how to collaborate with someone we don't know. We were able to develop a bond that aided with the message we intended to convey, therefore I think that strengthened our performance. Even though we should have practiced and reviewed the dance a little more, our dance went didn't have any problems and we gave it our all. This, in my opinion, was a smart method to teach ourselves to be more open to dealing with new individuals. It would not only enhance our abilities but also help us become more confident when interacting with unfamiliar people. The fact that I was able to execute my dance without forgetting any steps makes me believe that my dance performance went well. I believe that because I was able to modify and intensify my movements as needed, everything worked nicely. I also assisted my partner when they were having trouble with a certain movement by examining it step-by-step or slowing down the movements to pay attention to little details that might have been overlooked. I think my dance performance was my strongest aspect overall, and I hope to get better for any upcoming assessments.

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OVERALL EVALUATION

In the last few months, I've learned a lot about the performing arts industry and how to improve my performance and acting abilities. I'll keep using the abilities I've gained to push myself as an actor and set ambitious targets for myself in the future. I now know how to use my breath support and voice to project my voice. I was taught various techniques to warm up my voice, which I believe has helped me with voice projection and diction. This helped me train my vocal cords to project louder. This was beneficial because I learned about breath support and how your voice will increase with the amount of support you have. For instance, we practiced several breathing techniques to relax our bodies and minds and to concentrate on using our diaphragm. In addition to relieving physical tension, these breathing techniques warmed my voice cords, preparing them for performance. These kinds of warm-ups are crucial for reducing stress, releasing tension, projecting your voice, and other issues. These tips, in my opinion, have been really helpful to me, particularly because I have a tendency to overthink things and worry a lot, so they have allowed me to relax. It's crucial for performers to protect their vocal cords from strain and damage, and breathing exercises like these assist the voice. Also, knowing that vocal warm-ups improve voice quality might help you feel more prepared for performance. Additionally, we studied diction and pronunciation assistance. To help with this, we practiced tongue twisters, which improve dialogue's sharpness and clarity. In order for the audience to hear and comprehend what the performers are trying to portray, it is essential that they do this. It benefits actors as well as being appropriate for daily use. The fact that I can apply the talents I've gained outside of acting demonstrates their versatility and usefulness. I believe I now have a better knowledge of what acting is and is not. In addition to voice exercises, we also studied stakes and character development for roles. Stakes assist in giving an action context. For instance, how would my character brush their teeth if they had stakes involved? Are they rushing because they might be running late for an interview? Do they have a valid excuse for being late, even if they are rushing? What is going on at home that is causing them to be late? A performance gains more emotion and focus when it asks these kinds of stakes-based questions.

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OVERALL EVALUATION

Having this idea helps an actor better grasp the character they would be playing and the reasons for the character's reactions. It provides focus and raises the standard of the performance as a whole. We completed an exercise where we had to think of given circumstances while working in pairs to create a brief scene in order to help with character development. Considering the following circumstances: How to make sure a performer is fully aware of the role they are playing. What's taking place? When is that taking place? Why is it taking place? Where is it taking place? Who are the people in the scene? How does it take place? Because the actors have a solid understanding of their roles, these questions help to create a structure that supports the actors throughout the performance. This was helpful to me since it encouraged me to consider my character. Are they bad people? Or are they good? It challenges the performer to concentrate on their part and examine how they have behaved in it. Since research would have been required to portray this character, it is also viewed as motivation to learn more about the character. With this in mind, I was able to perform and give a stronger performance since I knew who my character was. This was helpful, and I'll be using this method going forward. Because I gave this persona a lot of thought, I also felt as though I was able to connect with and channel my character better. It demonstrates my commitment to both my career and my character. I think that I now have a better understanding of various acting styles and methods that have helped me in the course to become a better actor. I am thankful that this course has, thus far, assisted me in becoming more conscious of and responsive to my surroundings and the future. Knowing that I put in the work to play a certain role, I will continue to strive towards my goals and perform with a specific goal for my character. Considering this, I can say that being involved in performing arts has helped me be more creative and imaginative in my character portrayals. I'm thrilled about the opportunities that have emerged to lead me to a brighter and more secure future. I feel that I've made progress quickly, demonstrating my commitment to strengthening my areas of weakness and improvement. My ability to be open to new tricks and approaches indicates that I am capable of learning more about performing arts and their beauty and creativity. I have developed many abilities and techniques that have helped me view the world of acting in a different light.

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Thank You!Sarea Wynter

Gillian

To portray my character as Giliian, I focused on small details when she described how she felt about her crush, Adam. When she says "But I can't help it. Just thinking he might look at me, my heart starts pounding like mad," I wanted my voice to sound somewhat desperate to show how she wants to feel loved by her crush. I use my body language also to reflect her inner thoughts. Even though she doesn't consider herself beautiful or popular, her heart yearns for love and affection.

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- Everyday conversations and style of speaking. A realistic play would use prose rather than poetry and would use ordinary language, rather than a heightened emotional vocabulary. - Ordinary people. Generally, the stories are about people more readily defined as middle or working class. For Stanislavski, it was substantially the middle class or bourgeois, to use the right term in the Russia of his day, that he put on stage.

Realism:

Konstantin Stanislavski

The Fourth Wall, a realistic production will typically include a substantial, three-dimensional set that strengthens the illusion of the Fourth Wall, and it will most frequently be in a proscenium theatre. The actors portray the action truthfully without employing devices like addressing the audience or creating a tableau, which instantly removes any illusion that real life is being played out.

Realism

Konstantin Stanislavksi

-Stanislavski was born on January 17, 1863 and was a Soviet-Russian theatre practitioner. Konstantin Stanislavski, one of the greatest and most influential modern theatre practitioners, believes that actors should really inhabit their roles. So the actor shouldn’t only know what lines they need to say and the motivation for those lines, but also every detail of that character’s life offstage and onstage. This way, we can establish Stanislavski as a director and practitioner whose productions are naturalistic.

Who was he?

Konstantin Stanislavksi

Vladimir Nemirovich Danchenko and Stanislavski launched the business in 1898. Stanislavski was wealthy, but instead of paying the entire bill, he simply made contributions to the foundation. The business was a joint stock corporation with stockholders as owners. As a result, the project was supported by a strong community and collaboration. Stanislavski was occasionally tested by this, but his money was unquestionably beneficial to him when he was discovering or creating a new field. It thrived in the theatre industry and had a significant impact before splitting into two troupes in 1987. Of course, it was impacted by the political turmoil in Russia starting in 1917.

Moscow Art Theatre

Subtext - The text of a play could be referred to as the script. The actual intention and driving force behind the words stated and the actions committed are known as the subtext. When the heroine declares her love for the hero, for instance, we could infer that the story has a happy ending. But her tone would be completely different if she were afraid he was about to leave her.

Research

Konstantin Stanislavksi

https://www.cliffsnotes.com/literature/t/tartuffe/play-summary - character analysishttps://www.shmoop.com/study-guides/literature/tartuffe/mariane- Marianehttps://www.sparknotes.com/drama/tartuffe/characters/ - Characters

Research links

Understanding the distinction between naturalism and realism can be difficult. However, certain features can make it easier to comprehend the terminology. A theatrical movement in the 19th century called realism aimed to portray genuine life on stage. All of Stanislavski's professional life, he was a devoted realist. A concept that a person's character is shaped by what they have received from their family and surroundings is also referred to as naturalism, which is a term that is frequently used to describe the same things. Emile Zola, a French novelist, is arguably the author most closely linked with the literary naturalism movement.

Naturalism, Realism:

Konstantin Stanislavski

Mindfulness

Lowers stress and blood pressureReduces anxiety and depression

• "Mindfulness works by taking your focus to the present moment and away from other thoughts."
• " The way we think, and what we think about, can affect how we feel and act. For example, if you think or worry a lot about upsetting past or future events, you might often feel sad or anxious."