Final Evaluation

Overall I thought the play was a success. The energy was fantastic, I watched the audience physically jump when we all came in with the first song. The first scene was particularly good, so we managed to captivate their attention from the start. The projection of the whole cast was good, and I've had feedback saying that all could be heard. Unfortunately Tian's voice started to go towards the end of the performance, as he has a sore throat. The comedic scenes were a hit with the audience and there was laughter throughout. Another particularly good performance was the Wedding scene I feel. The energy was sustained and fantastic.It felt like everyone finally knew and understood their characters.

However the play was still too long, even longer than the dress, so we were at danger of losing the audience, especially towards the end when there was a lot of line mixing-up. Some of the pauses were too long and some of the exchanges between characters could have been snappier.

Personally, I really enjoyed the performance, and it was bizarre to finally have an audience. When I first entered, I didn't even say anything at all and there was laughter, which struck me for a moment, but I made sure not to lose focus. The timing seemed well, and I think the change in objectives made the scene finally click into place. I had a lot of fun with the role, but for Brighton I will make sure I don't toe the line between playing up to the comedy and overacting. I feel the audience responded positively to myself, Sarah and Gavin, and we had a real energy that we shared between us. A little bit more spatial awareness of each other may have improved the aesthetics of the staging but otherwise I feel my performance was a success. One more thing I lost a little was the support and I felt myself beginning to use my throat at points, however I stopped myself as soon as I realised, and I think my voice carried in the theatre. At first I was unsure on how changing the character of Trinculo to a prostitute would work, but it fitted well with Caliban being a priest and sex-deprived, and the given circumstances of the three characters created the comedy for the audience, who, seeing the show for the first time and not knowing our rehearsals, seeing  it afresh made it enjoyable and humorous in a way we could not have foreseen.

I feel the themes of drugs and colonization were presented well, and the message was passed clearly (I heard more than a few giggles from theatre students at the 'Were I European' line!). It was very different from last nights and I'm sure tomorrow nights show, it was much darker and I feel presented the more serious sides to the performance (although we still got a good few laughs!).

Dress Rehearsal Notes/Evaluation.

Today's Dress went well overall. The energy was the best we've had so far, particularly in the beginning section. We had issues with lines in the first boat scene and there was too long a pause, so we need to be clearer on who says what before the show. In one of my scenes we also had a mix-up with some of our lines, and this led to the energy being dropped. Personally, I forgot to say 'Thou liest' at the same time as Jordan so the drugs/control theme will be lost in that part if I forget that tonight. The projection was good, and we could be heard, we just need to keep that support in our diaphragms sustained.We all need to play the given circumstances more. The play is far too long, to solve this we should have more readiness with our queues and get on stage much faster, overlapping the scene changes.We could all do with a little more clarity in our voices.

The notes I received from Will include:

• I have to change my objectives in my first entrance to 'to seduce'. This means I need to practice in the break.
• The change in objective means I need to make some movement under the cloak to suggest I'm touching him up, adding to his torment! This will change Sarah's reactions in her first entrance so we'll need to get together to do that. 

•  I need to be wary of 'acting' too much. It's edging towards pantomime, there still needs to be an element of truth, the comedy should come naturally with the given circumstances. 

•  I kept wondering out of the light, so I need to look at the space and have a little more awareness of where I'm lit and where I can't be seen.
• I need to make sure I speak in tandem with Jordan when he drugs me.
• We need to get on stage quicker, the scene changes should overlap the entrances and the lines as well 

•  Before our last scene, we should splash a little water on our faces so the powder Tian and Jordan blow in our faces stick. 

 I need to rehearse the scene with Gavin and Sarah and warm up thoroughly before the performance but otherwise I'm excited and ready to go!

Review of Sarah's group performance.

Overall the performance was very lovely and extremely different.

• One of the differences was double roles, i.e. Trinculo and Stephano, which was a very interesting take that went well, the pairings were excellent and humorous. 
• It was a very comedic take on the Tempest.
• There was a lull in the first scene which felt like it needed something more.
• The general characterisation was very good, it felt like they knew their characters.
• It made me realise how important projection is, as some of them simply were inaudible. It shows that you can't afford to be delicate.
• Detailed relationships and status battles were missing.
• There is a contrast in strength, there's got stronger throughout, whereas ours gets weaker at the moment.
• For us this means that we mustn't let the audience down.
• They weren't always playing three sides.
• The mother/daughter relationship shows a different side to the character of Prospero compared to our father/daughter one.
• We can all take example from Nina's fantastic energy as Caliban.
• Music was a bit too loud in places and drowned out talking.

Personally I was watching my own character played by someone else, which is always weird but I think it's natural to be drawn to making evaluations and comparisons. I thought Britt and Zach had a very comical and light-hearted performance. There were two of them, so they were able to bounce off each other, and they were a decent pairing. Their existence in the space was excellent. One thing I didn't like was that they seemed to rely on their accents for the humour, and it didn't feel like they knew what they were saying but rather felt that saying the words in the accent was enough, which lost some of the meaning and also made it feel a bit flat in places.

Overall the whole performance was very good, and it made me realise how individual all the productions are. I would label their production the nice and fluffy one. Whereas ours might be labelled the violent or dangerous one.

Rehearsal Notes 7/5/13

The rehearsal was interesting as Will wasn't with us and I was leading the run. Some people were excellent such as Gavin and his characterisation of Caliban which has had so  much depth added to it. Some people were unhelpful and brought the energy down by not doing a proper run. Here are some of the notes I made of the full run.

SCENE TWO

• Tian: Face the audience, stop saying erm, it's not in your character or the script.
• Gavin: Excellent, believable characterisation, using voice, physicality and playing the given circumstances, playing it big!
• The Ferdinand scene needs faster pace
• More projection from all
• Characterisation is good so far!
• When forgetting a line however, people slip out of character, just take a moment for it to come back.
• Vocal support in the diaphragm is needed.
• Jordan: Don't rush your lines.
• Don't rely on a prompt; there won't be one in the show. When you require one in rehearsal, BE POLITE.
• Tian: Occasional random shouting, but energy and vocals have improved very much.
• Gavin: Let there be a connection when Molly undoes your chain; look at her.
• Molly: Voice doesn't carry over the music, support.
• STOP COMING OUT OF CHARACTER
• Masking each other; remember the staging.

SCENE THREE

• Saffron's dragging Tom on was abysmal, perhaps need to rework that between them.
• Tom: Character & projection: More of it, I can see you taking the piss.
• Jonah: Speak up & out.
• Phoebe: More projection, otherwise good character.
• You bring down the whole scene if you pull down everyone else with your bad energy. Don't be a selfish actor, just because you cant be bothered.
• Alex: Sort out your entrance
• This is boring to watch: energy, pace, character is DESPERATELY NEEDED.
• (At this stage a few people were taking the piss so I said:) I hope you all realise that the show is TOMORROW and we haven't done a single run-through without stopping.
• Jordan: Ariel's entrance was great.
• There is a fantastic change in energy when Gonzalo leaps on Alonzo.

SCENE FOUR

No-one made notes for us but notes I'd give myself would be projection. not getting distracted by people talking at the sides and trying not to make the energy seem forced.

SCENE FIVE

• Cameron: Try not to trip up on your lines, perhaps take your time a little if you feel you're rushing for pace.
• Projection is needed, fill the space in the theatre.
• Cam/Mol: There is a much better chemistry between you too, lost some of that awkwardness.
• This scene is pleasant to watch.
• Don't freak out when you trip on a line it's not the end of the world.

SCENE SIX

(Amaya took some notes for us:)

• When Caliban speaks explore all 3 sides (steph & trinc), All way through the scene actualy.
• Sarah: More projection/ bigger character at times
• Overall generally lovely.

SCENE 7

• Be aware of your Queues 
• More volume
• Energy is dropping because you're bored of rehearsing is ridiculous in my opinion, get over it and get on with it.
• Jordan: Fantastic characterisation and everything, the monologue is fantastic.
• Bigger reactions from the rest
• Lost: Carry on screaming for a bit longer
• Jonah: Superb acting, nice character.

SCENE 8

• It feels and looks like no-one can be bothered.
• It's painful to watch in places.
• We need to rework the transition between rhythms at the wedding for the Lost.
• Moyo: Fantastic, this is the energy we need, with one scream she picked up the whole scene.
• Losing some energy from the Lost.
• Bigger movement from Goddesses on Juno's enterance.
• Cam/Mol: Good chemistry.

I ceased to make notes as it went on to my scene and then after that the whole thing went down hill if I'm honest. It was irretrievable. However, I know that we can all do it because we all saw moments of brilliance in everyone. The only issue here was laziness, which I'm sure won't be a problem when we are in front of an audience. I am slightly worried about the show tomorrow, but I am going to stop myself, as the only person I will worry about from now is myself, and my own character. 

Rehearsal Plan

Tempest Rehearsal Plan: 3/5/13

1. Set up in 905
2.  Motivational chat time/circle of love
3.  Warm up – Sing Becky Jelly
4. Characterisation: Walk and Talk like your character. Who do you interact         with, STATUS, little things made bigger.
5. Vocal Support. Do some voice exercises.
6.  Block the last 10 pages of the show.
7. Ship scene
8. The wedding
9. Cameron and his logs
10. Anything else people want to work on.
11. Run the show (at least from page 30)

RULES

·        Listen to each other

·        Patience is a virtue

·        No negativity, it’s not constructive at this stage

·        Honesty

·        NO PHONES

·        Don’t slip out of character

·        Don’t talk when people are acting

·        Focus, even when it’s not your scene, TAKE NOTES.

Tech Notes

The Tech was an interesting experience. Being in the space for the first time was quite daunting, so we warmed up and walked around it so we could get used to it. It was exciting to get into costume as well, as it got us pumped and into character. The start I felt was fantastic and exciting, especially getting to perform with the sound effects and lighting! However the end was appalling as people weren't confident on their lines, which I don't understand how that can be happening a week before the show. I felt embarrassed and it wasn't even me who forgot the lines. When Will started reading in for people who were already on stage and should be able, I thought the Tech team must think we are a bunch of idiots, we really need to sort that out, and I hope the people responsible work really hard to get that. I'm sure they will as it was Quite a wake up call for us all that perhaps we've been needing.

I think Will gave up on notes eventually but these were the few we got combined with the stage manager's.

• The start is a brilliant, exciting and engaging atmosphere that we create.
• The last ten pages were absolutely appalling.
• It was embarrassing for us all.
• We are letting down the tech team by not being ready on our part.
• After the exciting, atmospheric start, the story begins to lose value and it lets it down. 
• Lack in vocal clarity.
• We all need to be much, much bigger with our character, energy, voices and movement. Fill the space, it is massive!
• Don't walk over the ships wheel at the start.
• The whole ship section needs work 
• In the dress rehearsal, Will wants us to over-act.
• The drug-theme needs pushing much further
• Take control of the show, don't let it slip out of our hands, it's OUR performance.

On Friday we need to start with the last ten pages, I will find Will, see what he wants completed and draw up a rehearsal plan. The last ten pages are of utmost priority, as that was an embarrassment.

Expectations in a Tech

The Tech is on Wednesday so we sat down and discussed what we need to have and what is expected of us as actors in the tech. Here is what we came up with.

• Efficiency: The ability to do what is required of us well and with speed.
• Concentration: We must know where we are in the text and what we are doing without getting distracted by the technical team around us.
• It's a bit like making a film, having all the elements come together to make the production work.
• We will see how the performance grows with all the technical things in place.
• Don't worry too much about mistakes just carry on.
• This is the tech teams time, it is there rehearsal rather than ours. 
• Some may not be as good as others, they are our age and learning just like us.
• Don't be afraid to ask questions.
• This is a good time to get used to the space and practice filling it.

Strengths/Weaknesses

We need to work out what we need to work on in the last couple of weeks before the show, but also what we are good at, so we can sustain that and a positive atmosphere.

It is important as a company to be able to identify weaknesses in our own and each others performances, so we can progress together and make sure we are all on the same page.


Weaknesses.

• Distinct lack in energy
• Connecting with the speech
• Lines
• Physicality
• Lacking good rehearsal techniques
• Uncomfortable looking 
• Samey - it gets boring quickly.
• Character journey
• Status
• Personal developments
• Filling in the space between scenes, what has changed since we were last there.
• Warm up to the given circumstances.
• The beginning - find madness
• The ending- bizzarre, doesn't fit, need to find it in the words.
• Losing the drug theme
• Slicker queues are needed
• Engage with the process better.

However it is also important for us to identify the positive values of our performance, otherwise it won't feel like we have one.

Strengths

• Overall atmosphere feels achievable
• Supportive creativity of each other
• Rehearsed in one room
• We've made genuine discoveries such as,  Caliban's self asphyxiation, Prospero's want for protection at the end, relationships between characters, Trincula and Stephana taking the piss out of Caliban.
• Abstract belief and courage, we embrace the slightly 'weird' stuff we do, e.g. body riffing.
• Starting scenes with intentions.
• Creative ideas and communicating them with the tech team.
• All hands in approach, a good teamwork.
• Unselfish behaviour most of the time.
• Someone's always willing to help.

People then commented on my help directing the rehearsals when Will isn't around, which was nice!

Looking at the two lists. they feel evenly matched, and the weaknesses are simple problems that can be fixed with hard work. so I feel the show will definitely have many more strengths then weaknesses, as long as we all work hard and get our heads down.

Tempest Scene Changes

Opening Scene – Boat

(Two Big Rocks at the back, 2 medium and 2 smaller rocks in an arrowhead shape like the prow of a boat. Shrine is down-facing. Prospero Cell in left hand corner.)

Scene change: Page 4

Queue:  Sebastian: Let’s take leave of him.

Scene Change 2 – Prospero’s Cell

(Ariel’s rock at the back facing side-on, larger rock downstage near exit D, 2 medium and 1 small rock in diagonal between the two larger ones. One small rock downstage near exit A. Shrine is facing up.)

Catherine/Georgia: Turn Ariel’s rock so it is facing the right side on.
Parris/Dajay: Carry largest rock near D exit corner.
Moyo/Holly/Saffron: Carry 2 medium and one small rock and align them in a diagonal from         Ariel’s rock to the largest rock.
Nicki: Move one small rock near exit A
Alice: Move the shrine so it is facing up.

Scene change: Page 17

Queue:  Prospero: Come, follow. Speak not for him.

Scene Change 3 – Another part of the Island

(Ariel’s rock facing the front, two medium rocks either side near it. Gonzalo’s bottle on the floor, Largest rock moved closer to the audience, one small rock in the middle near the audience, one near exit A. Shrine is down-facing.)

Dajay: Turn Ariel’s rock so it’s forward facing again.
Georgia: Move a medium rock to near Ariel’s rock.
Catherine: Move a medium rock to near Ariel’s and bring on Gonzalo’s bottle.
Parris/Nicki: Move the largest rock a little closer to the centre.
Moyo: Move a small rock downstage centre.
Alice: Move the shrine so it is facing down.

Scene Change: Page 23

Queue: Ariel: Prospero my lord shall know what I have done: So, King, go safely on to     seek thy son.

Scene Change 4 – A different part of the Island

(Essentially, the rocks are moved to look like two penises at the front, one near exit A, one near exit D. Ariel’s rock faces the back and 2 smallest rocks either side like balls. Largest rock has the 2 medium ‘balls’. )

Moyo/Alice: Turn Ariel’s rock so it faces the back and carry it downstage near exit A.
Nicki: Move one of the small rocks and place it on one side of Ariel’s rock.
Saffron: : Move one of the small rocks and place it on the other side of Ariel’s rock.
Georgia/Catherine: Move the largest rock downstage near exit D
Parris: Move a medium rock and put it on one side of the largest rock.
Dajay: Move a medium rock and put it on the other side of the largest rock.

Scene Change: Page 17

Queue: Stephana: O brave monster! Lead the way.

Scene Change 5 – Prospero’s Cell

(Usual set up for Prospero’s Cell, see Scene Change 2)

Scene Change: Page 30

Queue: Prospero: For yet ere supper-time must I perform much business appertaining

Scene Change 6 – Another part of the Island

(Same set up as Scene Change 3 (minus Gonzalo’s bottle))

Scene Change: Page 37

Queue: Adrian: Follow, I pray you.

Scene Change 7 – Prospero’s Cell

(Usual set up for Prospero’s Cell, see Scene Change 2)

The Lost: Create the fire, downstage centre. 

Rehearsal Four - Learning about my character

Today we concentrated on being adaptable.

I learnt that my character was completely different to my thoughts on the first reading.
For this version of The Tempest, and with our characters being prostitutes, we learnt that it would make sense if Stephana and Trincula were taking the mick out of Caliban the whole time, and pretending to be clueless. In a way this makes them quite clever characters, as they are scheming whores rather than foolish butlers. However the drugs and the alcohol clouds their choices and makes them rather idiotic. The scene felt completely different, and the words formed whole new meanings which I will now have to revise. The sexuality is a challenge, but this also works juxtaposed with the priest interpretation of Caliban, and these given circumstances should create comedy for us, allowing us to commit to real performances, rather than playing to the comedy. Challenging relationships as a trio is also interesting, as there is a power battle all the time. This has been eye-opening, and I hope to make more genuine discoveries like this.

Language of Theatre 15/04/13

My Relationships!

Trincula.

Trincula - Stephana: Partners in crime, been in the whore business a while, have a lot of fun, sing a lot of songs together. Are very happy when we see each other alive again. Boundaries are tested when Stephana takes the upper hand and starts to boss me around, not sure how I feel about being second, when I saw Caliban first.

Trincula - Caliban: Mistrustful of him, I don't know what to think. I'm not very kind to him, I like taking the piss out of him and because he's a priest it's funny to use my sexuality around him. Slightly annoyed that he worships Stephana and not me.

Trincula - Prospero: Before I meet him, I am unafraid, I don't really care about him, just winding Caliban up. After meeting him I am afraid of his power, aware I am helpless and weak in comparison to him.

Trincula - Sebastian: Sebastian is a regular customer, I know what he likes, I know many private things about him, which does give me some leverage, he is my superior, but I have some power sexually. This is how I know it is okay to seek his protection when I feel threatened at the end of the play.

Trincula - Ariel: I am afraid of Ariel when he ties me up, and I am under his influence when he makes me say things by drugging me. I stand below Ariel in power. He frightens me, but I am bewitched by him, his drugs and his music. 

Trincula - The Lost: When the Lost run on and attack us, I am afraid and there is hostility between us. 

Trincula - The rest of the boat's people: I am below all of the people on the boat in status, although many of the men are customers, which means I get private information and have a lot of sexual power. This does give me some stability and room for comfort.

Timeline Stuff

• Henry VIII had he church become more separate from the state, the new worlds (The Americas) were discovered and the printing press was invented.
• After Henry VIII the country had four monarchs in the space of eleven years. Edward VI, Lady Jane Grey,  'Bloody Mary' and Elizabeth I.
• The Tempest was written around the time when boats kept splitting, they could be likened to modern day space crafts. 
• In Bermuda a ship called The Sea Venture sank and that may have sparked inspiration for the writing of The Tempest.

Naming

• Caliban - Cannibal - Caribbean. 
• Gonzalo - Represents utopian society

Rehearsal Three - More blocking

General notes:

• It's not quite fast moving enough, we need to gain understanding so we can add some pace.
• We need to get more done in these rehearsals as we have less than a month until the performance!
• I feel I put all my energy into today's rehearsal and now I am exhausted but it feels really satisfying.
• This rehearsal Will added a lot to my character, I understand her a bit more.
• Jordan started his African accent today, it is good and adds so much to the character, but it is lacking clarity.
• Tom's coughing and resuscitation scene is excellent
• Alex and Tom need to know what they are talking about and why they are doing what they do. 
• We need to make sure the actions are coming and then the words so our characters are natural and not rushed.
• 
  

Language of Theatre 08/04/13

The Globe Stage

• Mainly men performed, however when King Charles came into power he encouraged women in theatres.
• Before this teenage boys whose voices were unbroken played the female parts.
• There were no rehearsals, apart from one lines rehearsal on the day of the performance, there wasn't a director, it was independant character development.
• After Shakespeare there was the Restoration era, which was very elaborate very over the top.
• The readings of Shakespeare's plays were very basic, and they would declaim a lot of what they spoke.
• The decoration in the Globe included the large pillars and the zodiac paintings, otherwise there would be no elaborate sets or scenery, this invites the audience to use their imagination.
• Symbols of heaven and hell were very prominent, in the class system, the higher class you were the higher up you sat. This showed that theatre was not that high regarded, as the upper class went just to show off that they were upper class, not so they could have a good view. The groundlings were in the pit, they were the poorest people. There were two trapdoors on stage, one representing the good and the other representing the evil. 
• There was a different play on everyday, another reason for the lack of set.
• The costumes were donated by rich patrons.
• Actors were considered the lowest of low, and were not well respected at all. Often they were heckled and had things thrown at them. 
• The height of the stage was 5 ft, the width 45ft and the length 30ft.
• You could fit 600 people in the pit, and 900 seated, so they would perform to very large crowds.
• The audience would have been entirely uncontrolled but as it was one of the only sources of entertainment, very responsive.
• The only lighting used was natural, or later limestone was burned.
• The costumes and the words determined the place and setting rather than set and lighting.

Similarities Vs Differences between a performance back then and ours now:

Similarities:

• Natural amplifications
• Thrust settings
• Song in the curtain call
• Tandem scenes
• Instruments
• Costumes
• Performing to 3 sides

Differences:

• Lighting
• Style of acting
• Creation of character
• Director
• Ladies
• Contextualisation

Rehearsal Two - Set Presentation and Getting it on it's feet.

Set Presentation

Today we met with the technical team, and they shared their ideas with us.The first thing we need to think is, how do we make the world of the play come to life. This is through all the combined elements, and we are all a team with the tech lot to make the world exist.

The first things we learned was about the space, the New Theatre. It has four entrances, labelled A, B, C & D. Entrances A & D are behind the audience, B & C go backstage to the run-through which links the two together. There is the paint frame between C & D with the props table and other things on it. D is the closest exit to the dressing room.

The set we have to work with include.

• Dry Trees/branches (Stationary)
• Prospero's Cell (Stationary, although Prospero can go inside)
• Rocks (these are moveable, and make up the different scene changes and can be stood on and used)
• Victoria's shrine (this can be moved down to become rocks, these cannot be stood on!)
• Sign to FreeTown, representing the indiginous Africans.

Vic Shrine

Prospero's Cell

We were then shown the costume designs, which were all beautiful, here they are,

This is my costume, it's really good to see what we'll be working with, and I feel like I know more about the play and it's world now that I've seen some of the set.

One last thing we will have is a cyclorama which is a backdrop. We're going to have a waxing and waning sun, which rises and sets, and also a moon. This will add a value of time and urgency to the production, and add to our personal given circumstances regarding time, temperature, exhaustion, etc.

I think on a whole the set and costume designs are incredible, it'll help colour the world we are trying to create and give us all so much to work with. I am looking forward to working in the space.

We then split up the scenes and worked out the positioning of the rocks, so we know how to block in future rehearsals. I will upload and scan my sketches of this soon. 

After the Set Presentation we went on to:

Rehearsal

The first thing we did was learn the Becky Jelly Song, which we will sing during the curtain call.

These are the lyrics:

Becky jelly laquale 'u yalan da'ua

Becky jelly yonkey in da wo

Becky jelly laquale 'u yalan da'ua

La poo ayon somla yalan da'ua

Ariel - Somlan da'ua!

The song is a very high spirited that requires a lot of belting. It gives the tribal feel and makes us feel very grounded in physicality. 

The blocking was very very long and we didn't get very far, but this is because it is important for us to understand our objectives and why we're saying what we say. It is very challenging, and Tian had a lot to say for the first twelve pages so naturally he wasn't off book, which makes it harder to act. It took a lot of energy out of him trying to play the objectives through words that are quite foreign to him. 

Will got us all to do an exercise where we all read part of one of Prospero's monologues and thought about playing the objective before the words so it is organic and logical. This is because as humans we get feelings before we say our words.

So far the contextualisation feels successful but it needs more pushing, I think it will come out more when we get to the arrival of the slaves (Ariel and Caliban).

Language of Theatre 25/03/13

Drugs themes - Character notes:

Ayahuasca - 

Ayahuasca is a brew of various psychoactive infusions or decoctions prepared with the Banisteriopsis caapi vine.

People who have consumed ayahuasca report having massive spiritual revelations regarding their purpose on earth, the true nature of the universe as well as deep insight into how to be the best person they possibly can.This is viewed by many as a spiritual awakening and what's often described as a rebirth. In addition it is often reported that individuals can gain access to higher spiritual dimensions and make contact with various spiritual or extra dimensional beings who can act as guides or healers.

It's nearly always said that people experience profound positive changes in their life subsequent to consuming ayahuasca and it is often viewed as one of the most effective tools of enlightenment. However, during an ayahuasca experience, people sometimes report nausea, diarrhea, and cold flashes. Additionally, vomiting often follows ayahuasca ingestion; this purging is considered by many shamans and experienced users of ayahuasca to be an essential part of the experience as it represents the release of negative energy and emotions built up over the course of one's life.

Further, it should be noted that the ingestion of ayahuasca can cause significant, but temporary emotional and psychological distress. There are many reports of miraculous physical as well as emotional and spiritual healing resulting from the use of ayahuasca. Long-term negative effects are not known.

http://www.youtube.com/watch?v=Vxdm4WBAgg4

This is relative to what the characters are feeling when they get drugged,it gives us some given circumstances for when they're existing in the space. 

Peyote

Peyote is a small psychoactive alkaloids. effects tend to  to trigger states of "deep introspection and insight" that have been described as being of a metaphysical or spiritual nature. At times, these can be accompanied by rich visual or auditory effects.

In addition to psychoactive use, some Native American tribes use the plant for its curative properties. They employ peyote to treat such varied ailments as toothache, pain in childbirth, fever, breast pain, skin diseases, rheumatism, diabetes, colds, and blindness. 

The curative nature of this drug could be relative to how those on the ship survive from injury etc. 

A spell to conjure satan:

Bagabi laca bachabe
Lamc cahi achababe
Karrelyos
Lamac lamec Bachalyas
Cabahagy sabalyos
Baryolas
Lagoz atha cabyolas
Samahac et famyolas
Harrahya 

Witch Doctors:

A witch doctor was originally a type of healer who treated ailments believed to be caused by witchcraft.  It is currently used to refer to heal, particularly in third world regions, who use traditional healing rather than contemporary medicine. This is relative to our character of Prospero, who creates spells and voodoo to control the people. The term witch doctor, a common translation for the South African Zulu word inyanga, has been misconstrued to mean "a healer who uses witchcraft" rather than its original meaning of "one who diagnoses and cures maladies caused by witches". Among the Mende (of Sierra Leone), trial and conviction for witchcraft has a beneficial effect for those convicted. "The witchfinder had warned the whole village to ensure the relative prosperity of the accused and sentenced ... old people. ... Six months later all of the people ... accused, were secure, well-fed and arguably happier than at any previous time; they had hardly to beckon and people would come with food or whatever was needful. ... Instead of such old and widowed people being left helpless or (as in Western society) institutionalized in old people's homes, these were reintegrated into society and left secure in their old age ... . ... Old people are 'suitable' candidates for this kind of accusation in the sense that they are isolated and vulnerable, and they are 'suitable' candidates for 'social security' for precisely the same reasons. This is particularly relative to Prospero, as being a witch doctor gives him much power amongst the people.

Rehearsal One - Readthrough

Upon reading the text as a group for the first time my first reactions were that there is a sense of madness lurking within the text, it is bizarre, mystical and there is confusion and mistakes, and a deeper underlying message, which in our version will be the comment on colonialism. My own character, as I today discovered is a prostitute, which I have played twice before since coming to the school. so no surprises there! On the first reading I take my character to be a fool. She brings comedy and lightens the play's mood.

We also blocked the very first moment in the play through a warm-up exercise. We all did a rhythm with our feet and surrounded Tian and we lifted him up and dropped him down, he ran backwards and we all became waves with our bodies. It was exhausting, but it is a very energized start to the play which should capture and engage the audience's attention. This shows how we can make genuine discoveries through warm up exercises. The foot rhythm gave the African vibe to the piece and contextualised it nicely.

Iambic Pentameter

The Iambic Pentameter is a dramatic device used to determine dramatic verse in classical theatre. It is the particular rhythm that the words establish in that line. That rhythm is measured in small groups of syllables; these small groups of syllables are called "feet". The word "iambic" describes the type of foot that is used (in English, an unstressed syllable followed by a stressed syllable). The word "pentameter" indicates that a line has five of these "feet."

The da-DUM of a human heartbeat is the most common example of this rhythm.

A standard line of iambic pentameter is five iambic feet in a row:

da DUM da DUM da DUM da DUM da DUM

Shakespeare's Hamlet is the best example of a line that defies the rule as it holds a feminine ending. 

 ×  / ×   /   ×  /      /  ×    ×   / (×)
To be or not to be, | that is the question
The extra unstressed syllable marks the feminine ending, and here is an example of a caesura, a   pause held in the middle of a line that could mark a change of thought or act as a middle                line-ending.

Language of Theatre 18/03/13

We all got together with the cast and Will for our first Language of Theatre lesson. Will pitched to us our concept of The Tempest, by William Shakespeare and then told us the casting.

The Concept

The play is extremely adaptable as it has many many themes, including:

• Magic
• Mystery
• Jealousy
• Love
• Slavery
• Rivals
• Government
• Power

Our concept is:

• It is a comment upon colonialisation; Ireland is our colony so the theme still echoes today. In the Victorian era, Britain was a colonial superpower, as we had an empire.
• The play should be a condemnation of colonization and slavery.
• Our play is set in Sierra-Leone.
• 'The Lost' are indiginous Africans or the white people are the traders.
• Prospero will be likened to a man named Johm Glover
• Caliban is likened to the Reverand Crowther, who was the 1st Anglican Bishop
• Ariel will be an indiginous african, slave to Prospero, but very powerful
• There is a present drug-theme throughout the play, rather than Prospero being magical he is a witch doctor who drugs everyone on the island.

Casting

Prospero - Tian

Miranda - Molly

Ariel - Jordan

Caliban - Gavin 

Ferdinand - Cameron

Alonso - Jonah

Gonzalo - Amaya

Antonio - Alex

Sebastian - Tom

Francisco - Phoebe

Adrian - Yusef

Stephana - Sarah

Trincula - Katie

Iris - Catherine

Ceres - Moyo

Juno - Georgia

Boatswain - Parris

The Lost

Catherine

Moyo

Georgia

Alice

Saffron

Holly

Nikki

Dajay

Parris

I think the casting is interesting and some of it is really obvious and good, such as Jordan as this version's Ariel. Some people have big challenges such as Amaya who is playing an elderly man. 

Personally my own casting is interesting, as usually the character is male. I'm looking forward to playing the comedy role, as it'll be interesting trying to bring some humour to this otherwise rather dark take on the production. I am interested to find out more about my character.

I think this is a really interesting context that'll give a political edge to the ideology. It will be an exposition of British and African history. I'm excited to work on a project that could be really engaging. Personally I need to improve at organic and interesting character developments. Connecting with the language will be a challenge and I need to explore physicality especially with such a bold character as Trinculo.

As we grow as our characters we need to work out our scars. Be proud of them. Work them out.

The language
The language barrier will be a major challenge for all of us.
Here are key things to think about when working on a Shakesperean text:

• Pronunciation
• What am I saying?
• What are the important parts/words
• Making it your own - don't just read off a page
• Iambic Pentameter - Research this.
• The 'invisible pauses' i.e. the Cezura.
• Finding the light and the dark in the lines
• Appropriating physicality to the words
• The words ride on the action.