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