5th November 2024 - LB Rehearsal

Subject of Rehearsal

As mentioned in the Mood Tracker, this session for me began with the ensemble learning the beginning harmonies to Legally Blonde (Remix) whilst I sang Vivienne's lines over the top. Following this, I was moved over to an Acting session, blocking Act 1 Scene 9 and setting the subsequent song 'So Much Better'.

Vocal Session

I was given an opportunity in this aspect of the rehearsal to run my portion of the song with backing before the chorus broke off and began to learn the harmonies underneath; I found this very beneficial to do, as this is the first time we had covered the song in timetabled rehearsals (when I was not practising independently.) Moreover, the presence of a minor audience (ensemble), had its own impact, in that I was able to begin considering how my artistic decisions would create the most effective intended atmosphere.

During this scene/song, Vivienne has undergone practically the full extent of her development as a character, something which I have not explored in a group setting before. For these reasons, my alteration (between the seemingly malevolent character I was portraying previously and the more compassionate and soft one I later become) became all the more relevant and necessary. With this revelation in mind, I can begin to framework the changes in my demeanour.

When Elle is about to leave Harvard and return home following circumstances that made her believe she was not fit to remain where she was, Vivienne is the (albeit surprising) driving force that encourages her to return, with her lyrics explaining her gradual change of heart. In the context of my interpretation, this is a gargantuan step for Vivienne to take alone, let alone in a public setting; she has given herself time to assess her priorities, and has achieved a sense of piece in terms of her academic jealousy towards Elle.

Therefore, there needs to be a considerable change in my body language first of all. While I spend the majority of the show closed off posture-wise and looking at other characters (Elle especially) down my nose, this is a pivotal moment where my stature can loosen and my language open up (while still staying true to the character's elegance). More notably, this implies a slight sense of relaxation of the character; uptight would be an understatement in terms of her rigorous approach to her academics and her appearance in the public eye, and she constantly fears the guise slipping before this revelation.

Vocally, also, changes will be significant. Vivienne's voice before this scene is clipped and condescending at times, always perfectly eloquent in her speech and minimising pauses in her speech to prevent suspicion of hesitation (as well as removing her subconscious fears that silence in conversations equates to a lack of interest or a presence of judgement from who she is speaking with). However, her harsh tones soften out here, with even a smile in the tone as the song progresses. She allows her more colloquial drawls to seep out in this scene, abandoning the full guise of porcelain, in favour of a much more healthy balance of demure and fiery!

Acting Session

In contrast, the section covered here seems to be the height of Vivienne's scorn. As mentioned prior, my interpretation of the character comes with a heavy sense of academic duty and an immense pressure for success; first place at anything she sets her mind towards. Her distaste towards Elle spawns from - in my opinion - her fear. Elle at the start of the show is the embodiment of everything she fears of becoming: unintelligent, subservient, overemotional, not taken seriously.

Her hatred only intensifies as Elle becomes her unknowing academic rival. Every success of Elle's is a failure for Vivienne, and this is only further drilled by the fact that Vivienne never actually speaks in the scenes from Callahan's classroom! I see this in a certain way: while her academic prowess is still completely intact, hence why her assignments remain perfect and she gets the internship, she becomes cold and quiet in class because she cannot admit she is afraid of being contested and beaten by Elle. 

By the time we reach the end of Act 1, this has reached a boiling point... but at the start she is not yet aware that Elle has the internship; only she, Warner and Enid have found out. This is crucial to the events that then play out...

Not only does she presume that Elle has lucked out on the internship, but Vivienne is then proposed to by Warner, something that she knows Elle has been vying for since she arrived. This gives her an immense sense of power over the scene, when she is put in the position of making her choice. 

This is why, similarly to in the MTV production, I made the artistic decision to begin pensive once Warner pops the question, but only confirm when having assessed Elle! This, leading into So Much Better, is the moment in the show (even over Legally Blonde (remix)), when I believe Vivienne has the most power over other characters, and this will be displayed in my physicality as the song progresses. Moreover, as I am an ensemble singer for this song, I have begun my integration of these contextual features into my approach; a lot of the lyrics are sung supportively by other cast members, but they become patronising and smug when coming from Vivienne.

Mid-Term Reflections

Target 1/4: Improvisation

While I realise that timed pauses and continuity have not been as large of an issue as previously conceived, various exercises we have completed throughout the term in regards to character building have allowed me to convey a greater, more effective use of quick thinking in character. Particular activities such as building physicality or learning new vocal lines have given me apt opportunity to consider my character motivation and the subsequent execution, in a small space of time due to returning to full class or cast discussions shortly afterwards.

Linking to Target 3, I have also found my independent exploration of the character to be incredibly useful in improving my level of detail and coherency within the role. The Questions for my Character blog which I mention later has proved highly sufficient and constructive in allowing me to develop my character.

To expand on this at a later date, I will write out more answers to these questions in the blog itself, rather than just independent consideration; I will also aim to spend more independent time blocking out my motions and vocal decisions (as discussed in further detail in Target 3).

Target 2/4: Natural Dance

In our timetabled sessions, I have been ensuring that I make each second count, with any free moments spent going over the sequences we have just learned until they can be recalled with a higher degree of fluency. Moreover, I have ensured that my general rehearsal broadens to beyond the classroom, generating a more successful degree of security in my movements. 

I have always found that I feel far less afraid of how I appear when working independently and when I cannot see myself... I will, in preparation for my continuation, have a detailed discussion with my teachers in order to assure that I am taking the correct and most effective measures to improve my aesthetic desirability, seeking their advice for specific exercises I can use to adapt (as they know my current position).

Not only this, I will ensure that evidence collected later on is a more authentic representation of my current ability, by using skills and activities that maintain my focus to prevent mistakes due to my comparison of myself to others.

Target 3/4: Character Depth

To begin my progress on this, I have set myself a list of questions from a reliable source. These cover a variety of topics that are allowing my to effectively use critical thinking skills and connect with my character in a deeper, more tactile fashion. 

This continuation of general though into my character and the consideration of the questions has been successful in allowing me to consider the weight of my actions and mannerisms when performing, but I would like to go into more detail on this as we move into the next term.

My aim is to solidify my choices on stage and map them out in my script, so that I can then feel more thoroughly justified in my choices. I also need to give further consideration to how my choices will impact others in the scene, by observing their reactions to show a more perceptive depth to my performance.

Target 4/4: Mood Tracker

While I have made the decision to only log my mood tracker in the second half of this module, I have been paying conscious attention to my progress and its correlation with my emotional state. I have found that more rigorous coverage and detailed expansion of my performance skills as a whole have produced more substantially high levels of self-gratitude. 

Not only this, I have been effectively creating links between my own emotional state and that of a character I am portraying. Generally speaking, an already greater sense of self-image equates to a greater confidence on stage - something which will prove highly useful with the character I am portraying. Unusually, a lower esteem will lead to even those corroborating moments of character feeling underdeveloped or forced. 

Therefore, as a plenary, I will begin the active tracking of these fluctuations, as well as participating in exercises that actively boost my mood. Thus, I will be able to permanently maximise my performances and produce results that I am more likely to be at least content with.

Rehearsal Process Observations - Teachers/Coaches

Dance Teacher: ''Amy has worked so passionately during the rehearsal process for Legally Blonde. With most of Amy’s movement in the larger ensemble numbers Amy has ensured that she is secure with the choreography so that she attends the rehearsals confidentially and can support peers. Amy has showed progression in her co-ordination and with the pace she is able to pick content up as well as retain the action in her movement memory. Amy stands out in rehearsal with her energy and added characterisation to her movement and I am looking forward to seeing this in the final performance.''

Vocal Coach: ''Amy has worked with dedication throughout the rehearsal process, often going above and beyond her part and helping sing the soprano ensemble line. She took feedback on her song “Legally Blonde Remix” and incorporated suggestions with ease and speed. She has been singing to a consistent high quality throughout the rehearsal process, demonstrating a comprehensive understanding of vocal technique from impeccable body alignment to breath support and a great understanding of singing with mix voice well (combination of twang and head voice). I’m looking forward to seeing her demonstrate more in the performance!''

Acting Teacher and Director: ''Amy has been an essential member of the company for Legally Blonde and taken on the role of assistant director. Amy was not only fully committed to her own rehearsal and development process, but also to that of all of the others in the show. Amy, on a personal level, received direction well and always remembered what had been set. She asked for and reacted well to feedback and was a fantastic team player at all times. Amy’s impact as a role-model on younger actors is clear, for example the work she did with the Year 8 playing Vivienne’s side-kick Whitney was exceptional and really allowed the young actor to flourish. Highly effective choices made at all times and full commitment to the process.''    

Questions For My Character - Vivienne Kensington

Introduction

For this exercise, I will be using questions derived from a Masterclass on writing, but the information is still highly effective for an acting context.

Writing Character Development: 45 Questions to Ask Your Characters - 2024 - MasterClass

As I answer these questions, they will allow me to develop a greater understanding of my character, and thus display the things I learn about her in my performance.

The Questions

Physical Appearance (the parts of it that are not determined by the actor)

1. How do they style their hair?

Practical yet elegant, usually half up half down or fully down. (Claw Grip OR Simple White Bow)

 

2. What kind of clothing do they wear?

Smart casual leaning towards smart. 2000s fashion for Harvard region (Boston, Massachusetts)

3. Do they wear makeup? What sort?

Minimal but noticeable, adds definition to the face and colour to the lips/eyes.

4. Do they consider themselves fat or skinny?

She must maintain a healthy medium weight (firm and trimmed, masculine), and uses her clothing to flatter her. (Stress eater??)

Background and Lifestyle

1. Where were they born?

The wealthy uptown district of a town in Boston. As such, her family's accents are much more clipped than the downtown drawl.

2. Who are their parents?

Her mother is a doctor (surgeon) and her father a lawyer, same as his father and his father...

3. Where do they live?

In an expensive district, with clear finery, but nothing of lavishness or extravagance.

4. What do they do for a living?

After graduating from Harvard Law, she trains and works for the Peace Corps (in script).

5. What is their greatest achievement?

Championing the debate team in state competitions.

6. What's the most embarrassing thing that has happened to them?

Her mother caught her trying on a flowery dress once before they were going to a family gathering, when she was instructed to dress smart. She thought she had more time than was provided to get ready, so she thought she could try it on and get into her actual suit before her mother arrived...  And, instead of making her change, or erupting in fury, her mother did something much worse... She dragged little Vivienne by the wrist and took her to the event as she was, letting everyone stare at her and chuckle behind their wine glasses.

7. When was the first time they fell in love?

Looking back, I don't think she's ever actually been in love... her relationship with Warner was more of a pairing of friendship and familial convenience.

8. What is their biggest secret?

9. What is their greatest regret?

Not standing up to her parents in her younger years, she had no true social life in her younger years because her parents forced her into their gatherings and all of her extracurriculars on top of her schoolwork.

10. Do they have any bad habits?

Just general stims to release excess tension and energy... which she has a lot of. Some of these habits can be self-destructive, but she never does anything in a place where it cannot be easily covered up. She paints her nails or wears false ones so that she can't bite or pick at them anymore etc.

Relationships

1. Who do they consider their closest friend or best friend?

While she had good friends, she didn't feel fully connected with any of them because of how much of herself she would hold back... However, I believe she ended up bonding quite strongly with Paulette after the events of the show, having reminded her so strongly of her aunt. Enid,too, heavily encouraged her to follow her aim of training for and joining the Peace Corps.

2. Do they have a romantic partner?

Nooooooope. 

3. Which family members are they close with?

She has an aunt, her father's sister, that is relatively outcast from the rest of the family due to her more alternative fashion and lifestyle... but young Vivienne secretly idolised her freedom and her unabashed femininity.

4. Who do they share their deepest secrets with?

Same as before, her aunt was the only one who didn't look at her down their nose when she was more carefree and preferred the simpler aspects of life...

5. Do they have any co-workers they're close with? Any they can't stand?

6. Who do they trust? Who don't they trust?

7. Who would they turn to for help?

That isn't really an option, unless you mean scouring books and the Internet until she finds the answer.

8. What is their relationship like with their parents?

Her parents are heavy on success culture and valuing a more complicated lifestyle to show depth of character. these values, along with a rather dated view of toxic masculine traits, mean that an impression is made on her from an early age that distance and stoicism were things to be revered.

Thoughts and Emotions

1. What is their ''spirit animal''?

2. What are their biggest pet peeves?

3. Do they consider themselves an introvert or extrovert?

4. What does perfect happiness look like to them?

5. What is their greatest fear? What keeps them up at night?

6. Are they a glass-half-full or glass-half-empty kind of person?

The glass is evenly balanced, no biases are needed.

Other Development Methods

Music

Another way I get into the mindset and experiences of a character is by making them a playlist based on songs I think they would relate to. Here is a link to my work in progress!

https://open.spotify.com/playlist/1OLexq6nFFDBhVq989yLW9?si=STG3ZuOrRVSmJ8slEQ_9pw

25th September 2024 - Dance Lesson and Baseline Assessment

 Section A - Plank Challenge

As opposed to a standard warm-up, we began this lesson (as we will be doing from now on), by completing the Plank Challenge. The aim of this task is simple: to hold the plank position for as long as physically possible. 

The plank is an incredibly beneficial exercise; although it prioritises core strength, it wields benefits for the whole body's improvement, regulation and training.

My time for this week's plank was: 1 minute 54 seconds. I will at all cost raise this every session (fortnightly).

Section B - HIIT

The next stage - as will be the same for every session - was to complete a short HIIT workout; this week's exercise pattern was designed by Sam.

His routine was 14 minutes long, with 14 different exercises that specialised in different parts of the body (core, arms, legs, full body etc.). Each set was 45 seconds, with 15 seconds of rest.

Section C - Centre Work

Here, we completed a variety of activities that hold focus on many aspects of a dancer's ability and techniques, the most important being coordination, timekeeping, memory, strength, and clarity of movement.

The activities we covered in this stage were:

-Jump Squares

-Isolations (Hips, Chest and Shoulders)

-Plie 'bounces' (as completed in previous session)

-Repetitive arm sequences (with the addition of legs if confident)

Section D - Corner Work

Similarly to Section C, this series of exercises incorporated a wide variety of general techniques and skills. As such, they were all able to be assessed at one time.

The corner activities we attempted were:

-Gallops

-Pivots

-Jazz Walks

-Jazz Squares

Results

19th September 2024 - Acting Lesson and Baseline Assessment

Introduction

To assist us in establishing effective characters for the forthcoming assessment, we began by exploring what is meant by Character Motivation This is a fundamental tool for any actor, as it gets them to consider many facets of a character's living situation, as well as how they can use physical and vocal skills to embody these things in the true nature of said character.

The three core elements of character motivation can be remembered using the acronym DAB:

Desire - what is it the character wants the most at this given time?

Achieve - what is the character striving to do in the scene?

Barriers - what are the obstacles lying in the way of them achieving this?

As time was limited, this was difficult to consider, as all of our characters have flexible and diverse character motivations throughout the show. However, as a plenary to the lesson I will spend time assessing these criteria for each scene my character is in!

Section A - Improvisation

Preparation

For our improvisation examination, we made use of a rehearsal technique known as Hot Seating. This exercise consists of one person being  - as the name suggests - sat in a chair, being asked questions by the other members of the group, as if they were their character being asked said questions. They must think on their feet, and respond in a way which they believe their character would.

However, as we discovered, there are certain questions that are more useful to improve one's improvisation skills and strengthen their understanding of their character. These 'core/deep questions' require a greater deal of consideration and planning, which can throw less experienced improvisers off, and cause them to stumble; hence why this is such an effective exercise!

Examples of these sorts of questions include: 

-What are your plans for the future?

-What is your relationship/status like compared with [other character]?

-What is your relationship with your parents like?

-Why did you choose to do [job/decision in show?]

In order to prepare for this task - although it will always be one that is considered spontaneous and unpredictable - we were put in pairs and asked to trial the questions on one another, before we moved onto the actual assessment before the full class.

Assessment Evidence

Section B - Working from a Text

Preparation

The second element of the assessment is a performance of a scene as a group. In this instance, Act 2, Scene 1 was decided upon fr the majority of the class, with a few other student performing a separate scene.

We were only given 20 minutes to block this scene, and the duration is rather long. As such it has since been refined and improved for our full school stage adaptation; it acted, however, as a decent framework for us to base the new blocking upon.

Moreover, at the end of the scene, each person was asked to describe their status in the scene (along with one way they demonstrated this), and one aspect of their own performance that they would change/improve on as a Plenary. I will include a transcript of my individual statement below my evidence.

Assessment Evidence

Rough Transcript / Plenary

''I feel like Vivienne, at the start, thinks she has more power than she does... So she's trying, you know, to appeal, and be more gentle with her movements; but she keeps continuously getting pushed down by other characters.''

''And I was showing that by, you know, decreasing distance between people, trying to assert herself using my build to sort of lean into people.''

''But to change that, I would have more of a gradual decline, so start with my posture more open and slowly close off as she loses her (presumed) power.''

Results

Summer Homework - Legally Blonde Theatre Review

General Information

On an undisclosed date, I watched the online production of Legally Blonde. This professional recording by the broadcasting service MTV is available for free on YouTube, and has a duration of 02:03:25.

Style and Synopsis

Legally Blonde is an iconic example of Musical Theatre embodying the comedy genre; it plays on the sparse levels of genuine tragedy very well, despite most of the emotional scenes falling under a more melodramatic presentation. This musical is built off archetypal characters - similarly to Brechtian theatre – and none of these quite shine through like our protagonist that we follow: Elle Woods, former Delta Nu Sorority President.

Blonde and bubbly in bucketloads, Elle follows her recently-ex boyfriend Warner Huntington III all the way from California to Harvard Law School in order to win him back after a breakup that she believed originally to be a proposal. Warner’s necessity to ‘get serious’ and become a senator before age 30 overpowers any care he may display towards the less-than-professional Elle. On her journey, she meets many more larger-than-life characters that both support her endeavours and provide ample obstacles that she – surprising everyone including herself – overleaps and rises to the top of the class!

Highlight

This musical is jam-packed with energy, charm and wit, it is immensely difficult to say which moment was the best! However, I believe that the most powerful element to this show in particular, is the use of more serious (pun not intended) undertones, that are only properly realised when the main characters are faced with them as more relevant problems to their current lives. In particular, the dilemma of the archetypal character, which is a feature used heavily within Legally Blonde.

Elle begins to discover critique issues regarding her character and treatment at the start f the show, when Warner splits off with her in favour of someone more conventionally proper and eloquent: someone ‘’serious’’. However, she seems to play further into that stereotype in her decision to pursue Warner and study to enter Harvard Law School, despite this being an obvious display of her true intelligence in hindsight. At the time, it is used as a key comedic ploy to emphasise the focus on Elle’s idealistic nature and portray her exactly as Warner described, even though her determination and skills are not dependent on any other characters as one would expect from the usual characters of this archetype.

Indeed, it is not until she enters the unfamiliar world of the other side of America that she comes to the realisation of how she stands out from those considered by society as more fit for roles in academia and higher responsibility. Even then, regardless of mounting pressures, she stays true to her usual demeanour. Although she must be encouraged slightly by Emmet and given some perspective as to why she should truly be taking the experience to study at such a prestigious establishment, this does not detract from the fact that she climbs the leaderboard in the class and gains a place in Callahan’s internship of her own accord and intelligence. Having help with your studies does not make you any more or less of a talented pupil!

When she finally comes face to face with a setback that she cannot recover from independently, it is because she has been subject to an intense breaking of trust between colleagues (which, for purposes of spoilers, I will not disclose here!) Elle succumbs to the feeling of depravity of conforming to an obviously (to us) untrue stereotype because she has been abused and taken advantage of, not because of her own character being weak. The person that had given her the most prestigious opportunity has revealed their malicious intentions, and is belittling her in a way that she cannot escape from; she is backed into a metaphorical corner because of the lack of control she now has because of this character. They have essentially consigned her to a seemingly unescapable life of mediocrity in the legal field, rendering her work for the past months utterly useless. Therefore, she is not at fault – it is not down to her being written as an unworthy character!

This destruction of stereotypes branches out to other characters in the show, and in very heavy doses, but this particular case encompasses the message of the entire show beautifully, and I can only hope that audiences will see this powerful message for what it is!

Character Highlight

I’ve already talked about our protagonist in bucketfuls, there is no doubt that she is a powerful character, bursting with life! However, to say she is my favourite would be a slight misconception… that trophy goes to Emmett Forrest!

As much as my heart is always thigh-deep in musical theatre and its many methods of enlightenment, a recurring peeve of mine has always been forced romances. Where characters seem to be romantically paired just because ‘they’re the leads and that’s what always happens…’

This (often heteronormative) tactic may sometimes make sense in context of desperation of despair. Take Scaramouche and Galileo in We Will Rock You as an example – they form a connection over being seemingly the only people alive who understand how flawed their society is and decide to experience new things when faced with the knowledge that they will most likely be killed the following day… And yet, even this dynamic feels unnecessary after they have succeeded; they obviously disagree on many fronts and the chemistry between them often feels like just jibing rather than affectionate banter.

However, Emmett and Elle’s dynamic, like the show as a whole does many times, completely subverts the convention! Although the two do eventually end up in a relationship (and are even engaged by Elle’s graduation), their bond is built from the ground up, acknowledging the short time they’ve actually known each other as most shows based in a short period of time fail to do.

They begin as an older and younger student, one guiding the other as they find their feet in unfamiliar territory. This only morphs into them voluntarily spending time with each other outside of class when Emmett takes a genuine interest in her wellbeing, and encourages her to work for herself, rather than chasing after a man who has moved on from her. Mind you, he does this for no personal benefit, simply because he cares about her as they slowly form a friendship based on time and mutual respect. It is purely based on their actions and interactions – as opposed to forced writing – that they end up falling for each other.

Outside of this relationship, Emmett is generally an incredibly supportive and endearing character, showing his own differentiation in himself by seemingly not being as physically ‘put-together’ as some other male cast members. From his opening scene, he displays a genuine interest in the new students, encouraging them to form connections with one another while not involving himself overly in the conversation. He is incredibly modest, and only wants the best for his peers. Even when he realises that he is being the slightest bit self-oriented (Elle’s minor criticism of the way he was addressing Brooke Wyndham’s case) – he acknowledges it without a complaint, taking it n board and using it to improve himself later!

Design

Every aspect of the design of this show clearly had a lot of thought put into it – any detail you could identify has a deep array of connotations behind it that evoke strong feelings within any audience member!

Every Costume perfectly reflects the time period effortlessly, and believe me, there are a LOT of costumes in this show! The attention to detail is impeccable; anyone who comes on stage wears as close to an everyday outfit as can be on stage, complete with many layers and changing jewellery. The time and dedication required to have so many preset outfits in one show  - to the point that even the background Harvard students are wearing something different in different scenes to show the change in time – is outstanding. Not to mention, the extensive use of colour symbolism in this show depending on character or circumstance is excellent in providing an additional layer of social context to every moment. Characters will adjust their costume over time depending on how individualist or conformist to the collective they are, whether it be colour, style or formality. All of this is before you even get me started on some of the insanely fast quick changes within the show, some of them even on stage!

The use of Lighting is also particularly clever here. While the primary use is of neutral spotlights, washes and diegetic lights (e.g. lamps, mirror lights etc.), there are subtle undertones of colour throughout that indicate mood and atmosphere. This ensures that the realism aspect of the story is maintained, whilst the charge of the scene is still accented by the surroundings! Notable examples of this include the subtle pink hues in the opening that reflect the energetic, stereotypical femininity of the Delta Nus, and the deep blues during ‘Legally Blonde’ that emulate the sudden painful revelations that are washing over like water, abruptly shifting the focus onto the more serious matters of the show.

Alterations

This is an incredible show in so many ways, it is very difficult to point out standouts, but also its faults. As mentioned previously, it is intensely ahead of its time in the ways it diverts from decades-old tropes that have plagues both the industry and the wider world on the whole. Not only this, it manages to cram in such a detailed storyline in such a short run time, without confusion or overcomplication!

Although I understand that dialogue is difficult to structure at the best of times, and that the plot is already rammed full of interaction as it is, I do feel like it would have been lovely to see more f certain characters and their dynamics. After all, the story takes place over a large enough expanse of time for a student to apply for, attend and graduate law school, which means at least three years, if not more! Certain students who are introduced early on are not featured particularly frequently later on, such as Aaron Schultz, Sundeep Padamadan (although this actor doubles as Nikos later on, so it is understandable), and Vivienne’s friend, Whitney.

Summary - Overall Impact

What else is there to say? Probably a lot actually, but you get my point… This show is revolutionary in so many ways, and it’s no wonder that it captivates audiences worldwide, myself very much included! It is a testament to the achievements of women - and anyone else who has faced adversity in their life – and has come out the other side tenfold stronger!

 

 

SMART Targets

 

TARGET 1/4: Technical Skill (1)

S: I want to improve my ability to improvise, and rapidly so. Specifically, I want to minimise pauses unless used for intentional impact; these usually occur because I am fearful of the aforementioned style of acting, and tend to feel I either speak with too long a pause or completely out of character (usually both.)

 

M: The more in tune I become with a given character I am portraying, the shorter these pauses and moments of character-breaking panic will become. I will record myself in multiple sessions throughout the course (which in itself provides ample dread), and time the pauses after watching them through. I will present these results in a way that displays the correlation of character study and pause time effectively.

 

A: I can use my acting sessions, as well as rehearsals and independent working time to improve this skill, giving myself hypothetical scenarios to record as monologues or scenes. I will repeat this action multiple times with the same scenario over a period of time, but intersperse it with other situations so that I am not continuously rehearsing the same thing. I can also develop and research my character in this time, feeling more in tune with them.

 

R: This skill will allow for a more authentic performance in the event of an error on stage. It will establish me as a figure of leadership and reliability if I can swiftly pick up the pieces (as it were) if things begin to divert from the script. For this reason, I will also ensure that I am more familiar with the text I am working from, in case the other character’s lines that they have potentially dropped are relevant to my character, and as such can be used to assist them.

 

T:  As mentioned prior, I will record myself rehearsing this skill as often as possible, as well as timing my pauses. Not only this, I already have a baseline assessment on the subject, and will have a similar style of recording for my Midterm and Final assessments.

TARGET 2/4 Technical Skill (2)

S: I want to be able to look more ‘natural’ when dancing. I have always felt that, whilst others seem to have an immediately acquired ease with the action, that I always stick out. I hope to eradicate this issue by studying others’ movements, as well as improving the fluidity and aesthetic appeal of my own.

 

M: I will record myself in as many stages as possible, performing the same tasks as both my peers and professional dancers. In between this, I will engage in a variety of exercises that improve aspects of my approach that will lead me to my goal, and show evidence of these.

 

A: Through watching interviews of professionals, I can identify the correct areas to focus on in terms of my physical improvement, and create a suitable plan of action to develop each of them over a set period (more on this later.)

 

R: I will have the time to achieve this in a combination of my in-class dance sessions and home study. Although the school environment has a more suitable place for me to show my actual dancing work, I can still effectively improve my specific skills at home, then apply them at school.

 

T: Aside from the Baseline, Midterm and Final assessments I undergo, I will also ensure that I am frequently tracking my progress in this aspect through my blog and visual evidence.

 

TARGET 3/4: Performance

S: I wish to improve the depth of my character when performing, growing more in tune with them in order to provide a more authentic, rich performance.

 

M: Linking with Target 2, I will spend considerable time analysing the text I am working with, and use time outside of learning to set myself questions regarding my character. These questions will cover a vast majority of topics, and allow me to gain a further insight on my portrayal.

 

A: My focus on these individual details of context and character will visibly improve my engagement with the scene, as well as my artistic coherency of choice.

 

R: This can be applied to all aspects of my character! Having a deeper understanding of one’s character will allow for more thoroughly detailed mapping of all artistic choices, whether singing, dancing or acting. I will display this by displaying my detailed plan for each of these (most likely in my blog and/or script.)

 

T: I will (similarly to targets 2 and 3), keep a record of this overall throughout the module, showing more broad reflection at the moments of Midterm and Final reflection.

 

TARGET 4/4: Professionalism/Mental Skills

S: I do not want to eradicate any of my excessive self-criticism. Instead, I wish to use it to my advantage and make my work towards improvement more fulfilling.

 

M: As well as keeping a general mood tracker following all further performance and rehearsal sessions, I will give a justification for my mood. I will analyse my errors, and (in link with Target 2), create a suitable plan of action to ensure they do not repeat. This may take a variety of forms, and I will be sure to document each one and evaluate their impact.

 

A: I will be highly disciplined in this conduct, and will not leave any room for contest. It will be a revealing process as I track my mental state throughout, but it will allow me to identify which flaws of my ability are the most damaging currently, so that I can prioritise these to work on.

 

R: This is a task that will apply to any situation in life, as that is how deep my critique lies. However, it is especially useful that I am tailoring it to this specific context of performance, as many aspects of performance and communication are also transferrable to everyday life.

 

T: As I have mentioned, I will track myself after every session, but my evaluation will be more broad when I approach my Midterm and Final reflections.

 

20th September 2024 - Direction Planning

Introduction

From this point, unless there is a drastic change in the structure and/or features of the rehearsal process, I will not bore you with my repetitiveness!

However, this rehearsal did indeed differ significantly! Being one of the Assistant Directors for this show as well as playing a character, I was put in charge of directing Act 1, Scene 8: the iconic scene in which Elle arrives at Whitney's student party dressed as a Playboy Bunny.

Context

This scene immediately follows Vivienne inviting Elle to the party in question, intentionally sabotaging her arrival by misleading her into thinking it is a Costume Party (hence why Paulette offers her the Playboy outfit.

In terms of staging, the general idea our main director is planning is that it is set outside (Whitney's Garden?), and as such the wings lead off into the main house in various directions; the upstage wings are all characters' main point of entrance, whereas the downstage wings can be for temporary absences.

Process of Direction and Intentions

I will separate my process for this scene into several key elements, which in turn have been effective in establishing different themes and ideas between the characters:

-Opening (principals only)

-Reset with addition of Supporting

-Introduction of Elle

-Serious (reprise)

-Altercation

-Resolve

Opening

The scene begins with Vivienne and Warner entering the party, and the former engaging in a conversation with Whitney, the host. 

As mentioned prior, all new guests enter from upstage - in this case USR - and Whitney begins CS as the host. Vivienne immediately walks to meet her friend and begin the conversation face-on (with slight angles to prevent a lack of visibility to the audience), with Warner purposefully stuck in the middle facing directly forward.

This central staging, for starters, ensures that these characters with the dialogue can be the primary point of focus with no obstructions, as well as keeping the downstage area empty (more on that later.) The placement of Warner in the middle of the conversation with his lack of dialogue begins to cement his awkwardness within the setting; Whitney is someone he is not familiar with, and he is engaging for Vivienne's sake instead of his own. This then links to his ultimate decision at the end of the show to distance himself from the Law field; he never felt it resonated with him to begin with!

Following Whitney's exit from this are into SL (where she will begin to interact with other ensemble), Vivienne unintentionally furthers Warner's issue by moving into Whitney's place and blocking him from the rest of the room to which he is facing. However, this begins t be remedied as she begins to lead him downstage...

Ultimately, this DS strip is intended for the more intimate moments between characters, as it is where the later Serious (reprise) takes place, thus creating an as of yet unknown parallel. Therefore, this direction into the more secluded are of the stage implies a softer moment between the two characters, speaking of exciting aspirations and work they can do together... 

...that is, before Vivienne unknowingly spoils it by continuing her spiel about other students and the study group. 

Reset with addition of supporting cast

Having laid out this facet of the scene and rehearsed it several times to work out the tweaks, we slotted in member of the older ensemble cast to pose as the other Harvard students. For this, I needed people (and they were allocated as such) who I knew could remain engaged and alive onstage, without drawing too much attention away from the dialoguing principals. 

I was relatively lax with this aspect of the directing process, dotting people around the stage and having a degree of trust in them to come up with their own storylines, whilst posing a few suggestions. I, as well as the main director, made it clear at the start - however - the context of the scene. More specifically, the more dignified, stuck-up characters that they would be playing, despite the setting of a house party potentially causing ulterior assumptions without the correct information.

Introduction of Elle

While I have spoken prior about the general importance of character entrances, this one in particular is highly impactful as a moment in the show as a whole.

While I was unable due to set logistics to have Elle enter through the USC doors as originally planned, she still enters from the upstage wing hidden behind students, only to be revealed in front of said doors. The rest of the students by this time have formed a sort of gangway in their clumps (whilst still leaving DS apron empty), for Elle to later walk down the middle and approach the now stunned (and slightly off-centre CS) Warner. 

The true beat moment of noticing Elle occurs when Vivienne - who had previously exited casually into what will be the house backstage - returns, and spots Elle and Warner herself. Before Elle drives downstage towards Warner, there is an audio cue of the music halting abruptly and all characters on stage blatantly staring at her in a mixture of shock, disgust and glee.

Serious (Reprise)

The interactions between Elle and Warner - who have now finally moved to the DS apron as mentioned prior - was not blocked by me; I left this task to the comfort of the actors involved, as well as the main director who already had some parallels from earlier in the show they wanted to implement.

However, it was my initiative to instruct the rest of the ensemble. I decided to have them all continue their previous characterisation and interactions following Elle's reveal (with the implied addition of conversation and motivation that came with that), with the only alteration being the speed slowing down dramatically - pun not intended... This way, as at the start of the scene, the audience would maintain their focus on Elle and Warner downstage, and the atmosphere would not be broken by disengaged ensemble.

Altercation

By the end of the song, ensemble slowly begin to converge on the downstage area, creating a sort of menacing huddle around Elle. However, they still leave the frontmost area for Elle and Warner to not break the energy generated just yet. 

That is, aside from Vivienne, who shows no hesitation in driving downstage and breaking the previous connotations of this area of the stage. Moreover, these three characters being the only ones in this section, with Warner in the middle and the two women either side, is a reflection of the current romantic turmoil that makes up one of the show's many subplots. Vivienne driving into this space is a direct representation of how Elle felt when she initially heard the news of her and Warner's breakup, followed swiftly by his announcement of his relationship with Vivienne.

The ensemble continue to converge, now breaching the edges of this space, and react with according spite and teasing towards Elle at each of Vivienne's comments (and also partially towards Vivienne when she is insulted, but this is slightly less defined as Vivienne still holds status within the scene at this point.) 

Resolve

However, the atmosphere is rapidly shifted when Elle springs into action, taking the glasses of Enid (who is slightly further forward than the other ensemble and positioned centrally), and insisting that her costume held a more intellectual value.

This is a significant moment, as Elle begins to strip away Vivienne's authority in the scene and bestow it upon herself. Therefore, as Elle delivers her final target towards Vivienne, she storms away in the opposite direction, with people actively parting before she even walks through them! Meanwhile, Vivienne is slowly squashed into the DSR area, before eventually storming off, thoroughly beaten down.

18th September 2024 - Theatre Trip (+Accessibility Link)

Introduction

In a surprising turn of events, I was invited at short notice to attend a school trip to the theatre! Wonder Boy is currently touring at the Bristol Old Vic, and it is a delightful yet heart-breaking experience on the whole. 

However, I am not writing with the intent to review, I have a much more specific task at hand! 

I have recently begun my journey on the path to making music (and the theatre industry in general) more accessible to those who love it the most! As such, I was very lucky that my teacher involved was able to obtain a spare audio description headset, commonly used for the blind. In this report, I will detail the features of this particular play's facility, compartmentalising it into several categories:

-Pre-Show

-Content Covered

-Narration Style

-External Feedback 

Report

Pre-Show

Although I didn't receive the headset until just before the show, I was still able to catch a small amount of information from the narrator. Specifically, she was describing each member of the cast for those using the software to visualise:

The narrator would give the name of the character and the actor, as well as their main costume (more on this in Content). They would also identify each actor's gender and sexuality (if specified), and whether they embodied a more masculine, feminine or neutral 'energy' (or a combination of these, as I heard!) Finally, they also highlighted each character's common idiosyncrasies and gestures for the audience to visualise!

Additionally, there were also general pleasantries, with the narrator wishing the listener an enjoyable experience, followed by approximate waiting time for the performance to start when it drew near (not to mention any justifications for the slight delay: some of the audience members had not yet taken their seats.)

Content Covered

There were certain aspects of the piece that were described in incredible detail, whilst not being overwhelming (more on this in Narration Style). These aspects were both Character  and Technical  based:

Character

-Gesture/Movement - specific action, direction/to which character, emotion behind it 

-Direction in which they were looking/facing

-Facial expressions

-Subjects/objects being referred to indirectly/non-verbally

-Ensemble movement/actions

-Actor location on stage

-Captain Chatter (non-verbal character)'s dialogue on screen read out loud 

Technical

-Props - specific size, colour, material (as well as interactions with them)

-Costume - specific colour, item, style

-All changes of lighting, including colour

-All changes of set (although set was minimalist)

-Colour of each character's subtitles (the first time they appear for each)

-Any significant changes in the style of the on-screen writing (e.g. abnormally large, elongated, central placement etc.)

Narration Style

Our audio descriptor for the evening had a clear, methodical voice, meaning that every word could be clearly be heard. It was a more feminine voice, and they spoke at a steady pace, that allowed for all information to be clearly understood without delay between stage and transcript. If anything, certain features (mostly character gestures/actions) would be described just before they actually happened!

Moreover, the descriptor maintained the impact that silent moments in theatre possess, by ensuring they did not speak during them. This was able to be achieved even with each action being described in perfect time with the performance: a true feat!

Finally, and most notably, while the narration remained the same speed and level of clarity, their tone and dynamics were altered to match the energy and atmosphere of the scene. Whether it was the upbeat opening comic-book style sequence with Captain Chatter, or Sonny's frantic attempts to fight off the fears of his stutter, or the more slowed, desperate conversations between Sonny and Wainwright... every moment was matched. Every moment was just as captivating as it would have been without, it was almost as if the description wasn't there at all, which is the perfect way it could have been laid out!

External Feedback

As it happens, we also had a visually impaired student with us on the trip, who was using the facility! I was lucky enough to catch Evie after the show, and ask her what she thought of the descriptions; ultimately her view on the matter is tenfold more valuable than mine!

She told me that she thought the system was very well presented, and that it was of great help to her! Not only this, I know that the team behind Wonder Boy were able to give her a 'touch tour' before the show, allowing her to feel all of the props and set, experiencing them as if she were an actor herself!

Speaking of the actors - this was not a part of the tour - each of them, understudies included, came out to speak with her personally! They introduced themselves and talked about their characters, even using their character voices as an example to identify them by later!

Plenary

Overall, this is an incredible example of how theatre can easily be adapted to incorporate a much larger audience! I believe that we should all aspire to be more inclusive and loving in an already exploratory industry; as such I am going to continue this on as a new thread on this blog to see what I can do for my school and the wider community in the future!

18th September 2024 - Vocal Lecture and Baseline Assessment

Introduction

This session has differed from previous ones; not only was it our first full-length singing lesson, but our specification was not so much on the practical element to begin with, but moreso the general science and technique behind singing!

Written Notes

There are three main aspects to successful singing technique:

-Primal Sound

-Breath and Support

-Posture and Alignment

Primal Sound

-This is most informedly defined as any type of 'emotional response sounds'

-We are born knowing exactly how to make this kind of loud sound and sustain it for hours - think of a baby crying!

-Other examples include: groans, monkey noises, loud calls/yells, crying, whines, laughter and sobs

-The muscles heavily involved with Primal Sound are known as the 'diamond of support':

--> Top of diamond = Xiphoid (process) - moves in and up

-->Sides of diamond = Transverse Abdominis - push out 

-->Bottom of diamond = LAPS (Lower Abdominal Pubic Symphysis) - moves in and up

-These muscles 'fire' automatically t create loud, resonant sounds and add characters to our voices

-Certain sounds in particular, especially sobs and yawns, are very helpful in lowering the larynx too!

Breath and Support

-We are all metaphorically a Pump, Valve and Amplifier!

--> Pump = Abdominal muscles, diaphragm and lungs

--> Valve = Pressure in the glottis causes vocal folds to move against each other - sound is produced"

--> Amplifier = Mouth positioning; distance between the back of the tongue and roof of the mouth                                    especially. Straight alignment of the neck and shoulders, as well as the hard and soft                                palates in the mouth.

Posture and Alignment

-You must ideally have a wide base (feet shoulder width apart), and focus on five main points being in line with each other:

--> Ankles

--> Knees (not as important, more freedom of motion/relaxation)

--> Hips 

--> Shoulders

--> Ears (prioritise these positioned over the Shoulders to help combat ''tech neck''!)

-Don't remain in a fixed position with posture, always have some degree of movement

-This is a magic combination between flexibility and strength, that helps in reaching maximum level!

Evidence of Assessment

Results

17th September 2024 - LB Rehearsal

Warm Up

Our preparations for this session was the same as usual! General mobility and stretching procedures to begin, followed by SOVT exercises and melodic arpeggios to ensure we were warmed and ready for the following activities!

Characterisation Work

Once we broke away into our respective groups, we began a small character-based task. This was primarily targeted towards the new chorus members who would be participating in the scene, but I will always take an opportunity to continue my own personal development!

The task was carried out very similarly, however, to one of our activities in the first acting session: participants would walk around the space as their normal selves, before altering their manner to suit that of their characters. This time i found this much easier to slip into, as I had previously mapped out each of Vivienne's tendencies, thus meaning that my rehearsal has displayed ample progress for my fluidity and confidence in character!

Main Rehearsal

There were two distinguishable halves to our main chunk of rehearsal:

-Recap

-New Content

Recap

Before we moved onto new content, we spent considerable time consolidating our previous learning by rerunning The Harvard Variations - with both song and blocking simultaneously - several times. This was actually very useful for my progress, because I was already familiar with the technical details, and as such could develop the scene by adding more characterised details, rather than just ''going through the motions'' of the scene, so to speak.

New Content

The next section we blocked was the subsequent song, Blood in the Water. Having already learned the vocals in a previous session, this was the final stage of solidifying this number, before I could admit the same confirmatory treatment that The Harvard Variations received.

Although my counterpart began the blocking process, this was ultimately more useful for me, as I was able to take notes on each motion I was given, and begin to establish character before I attempted the blocking! Therefore, the later process of adding in the characterised elements would be swifter, because I could plan them as the scene was unfolding, without any disruption to my focus!

In terms of movement, my main activity is a series of four freeze-frames (thinking, writing, toying with clothing, listening intently), as well as a few leaning motions and nods at specific moments. Aside from this, I am somewhat restricted; I remain in a chair for the entirety of the song (as we are in a lecture room), although I am on the front row which gives me some freedom of changing my seating position comfortably (e.g. crossing one leg over the other.)

Plenary/Next Steps

Due to all of these aforementioned factors, my priority for independent coverage will be regarding my facial expressions and upper body movements. I need to ensure I appear engaged for the full scene, and am always reacting to the situations unfolding, without drawing attention away from the dialogue and vocals of the other characters.

In this scene, Vivienne is generally content, in her own reserved, cold way. She is excited, certainly: it is her first day at the prestigious Harvard Law, and she is partaking in a lesson with an equally infamous professor, where she has front row seats! This, accompanied with Elle being thrown out of the class after admitting to not completing the assigned reading prior to starting, fills her with a great sense of justice and satisfaction, as she believes at the time that these things are all positive (she does not know Elle personally at this given time.)

Therefore, I will need to display as much of these things as I can without the use of voice or the lower half of my body (for the most part), and as such I will also lean into my interactions with other characters beside me.

13th September 2024 - HIIT Workout Design

HIIT Workout Plan - Homework

General Information

-45 seconds on, 15 seconds rest

-6 exercises, each repeated twice (12 mins total)

Exercises

-Jumping Jacks/Star Jumps

-Pulse Lunges

-Bicycle Kicks

-Floor Push-Ups (hands together or seperated)

-Leg Lifts

-Russian Twists

11th September 2024 - Dance Lesson

 Introduction

Being our first Dance session of the year, there was a small degree of introduction involved to what our course would entail. Primarily, we were informed that our next session be a Baseline Assessment, consisting of a Warm Up, HIIT Workout, Corner Work and Centre Phrases. More on all of these t follow, but each aspect (minus centre phrases) was studied in this lesson.

Warm Up

Here, we learned about the three main stages that accumulate to create an effective warm-up, as well as putting this into physical practise. The core phases are:

-Cardiovascular

-Rotations

-Stretches

Cardiovascular

Also known as the 'pulse raiser', this facet is the start to any successful warm up. The main objective is to engage in exercises that raise one's heart rate in order to pump a greater amount of oxygenated blood around the body. This all means that your muscles are effectively supple and ready for more intense activity without causing strain or injury.

Our main cardiovascular exercise for this lesson involved bobbing our knees in time to a musical track, four times with our feet together and four times in a wider position, with either foot alternating between stepping out. This was rapidly then repeated with a repetition of two bobs, followed by one. Not only this, the exercise was repeated multiple times in order to ensure an impactful task. This is a very useful activity, and a lot more energetic than one may initially expect: our teacher's resting heart rate was 76; by the end of the exercise it was 124!

Rotations

More commonly referred to in this context as 'mobilisations', this stage draws focus to the joints in various areas of the body, giving them ample time to also feel malleable. This too prevents any potential injury, particularly zooming in on the ball-and-socket joints of the ankles, shoulders and wrists.

Our chosen activities mostly involved rolling these joints in circular motions in time to music, in order to reach the full expanse of their structure suitably for the following tasks. The shoulders most notably, were rolled both forwards and backwards on their own, with the hands touching them and the elbows out, and with the full arm in motion to conclude.

The section of this element that activated the wrists and ankles also used a great degree of mental exercise, in the sense that our brain was challenged on the basis of coordination. We first rolled alternate ankle and wrist joints in the same (and then opposite) directions, but later switched to the same arm and leg at the same time, rotating in opposite directions only. As the left hemisphere of the brain controls all motions on the ride side of the body and vice versa, this proved a challenge due to the conflicting signals n the one side each time. Therefore, a task for me to improve my general coordination in the future would be to strengthen this brain function by repeating the activity.

Stretches

This final piece of the puzzle is rather self-explanatory: you need to stretch out any muscles you may require for a session thoroughly now that they are warm, so that the risk of pulling them or injuring yourself in other ways is minimised. We made use of both types of stretches consecutively for each one that we completed. Static stretches are where you stretch continuously without moving, whilst dynamic stretches involve gentle movement that is maintained throughout the stretch.

In our case, we made use of stretches that incorporated all vital muscles involved in any style of dance, including (but not limited to): triceps, biceps, hamstrings, quadriceps etc.

HIIT

HIIT, or High Intensity Interval Training, is an activity which entails sets of rigorous anaerobic exercises separated by short moments of rest. These exercises are always segmented into 1-minute chunks, so however long you exercise for within the minute, the remainder is used as rest (although there should be no more than 20 seconds of rest used per minute in HIIT). This is a task that uses a variety of exercises chosen by the participant, but each of the (approx.) 5 should focus in on a different part of the body, with one or two being all-rounders. In our case, we used:

-Running on the spot (all rounder)

-Squats (legs)

-Plank (core)

-Burpees (all rounder)

-Crunches (core)

It is advised that you spend at least 10 minutes in any HIIT session, as that is the minimum duration that hold any impact; mostly this involves improving your stamina and endurance, but also strength! 

In terms of the rest times we mentioned prior, we repeated the loop f these activities twice so that we achieved the ten minutes, and began steadily: 40 seconds on and 20 resting. In later sessions, to further heighten the benefits from HIIT, I will personally increase my total time participating, as well as my activity period in relation to my rest.

Corner Work

The final stage of this session focussed on corner work: where you (in pairs) move from one corner of the room to the other in time with music. We began with one, but soon developed the task to include all 5 core aspects of Dance:

-Travel

-Jumps

-Turns

-Stillness/Balance

-Gesture

At first, we completed this task as instructed by a teacher, but later on we were instructed to split into groups and create our own phrase encompassing all facets. We then taught this to the class (although another student was mostly directing my group throughout this.) 

Plenary

I am generally confident in terms of my timekeeping and rhythm, so this last activity was not a challenge. However, as mentioned in my soon-to-be-published audit, I am not yet the most conventional looking dancer (my movements compared to others always seems strange and unrelaxed.) As such, my following tasks are not only to design my own HIIT as a Homework, but also to study others' movements and emulate their techniques to appear less different in terms of my manner.