Monday, 29 September 2014
Skills Audit
What skills have I developed so far on my BTEC?
I've learnt that I should always learn my lines cold so I don't get into a rhythm of saying them. I know to break my script down into the given circumstances so that I can really live in the world of the character. I can now find objectives quicker and easier. I can evaluate my own performance usefully and critically. I have learned to connect my body and voice whilst feeling the sounds of the words. I can make my voice resonate and my articulation is good as well as projection. I feel confident in my space proixmics and am now competent with mask work. I have learnt to research in depth about my character using the internet, improvisations and literature. I know how to communicate my intentions through movement. I now know about my casting range. I have learned about the importance of using breath and spending emotion to really unlock my instincts. I can now work effectively as an ensemble and I understand energy on stage and also how to make good transitions. I learnt how to build a world in response to a stimulus/text. I l discovered how to adapt my performance to a specific audience (Children's Theatre). I have learnt about different theatrical configurations like in the round and thrust. I now know that every scene is a chase.
Have I gained any skills elsewhere?
I studied ballet so I could learn to move on stage (head up, chest out). I learnt puppetry and object manipulation. I did an exercise by complicite with bamboo sticks and learnt to create a story travelling round a space with the stick between mine and my partners index finger. I learnt how to create and 8 move duet with a partner. I did a bit of choral singing and I also learnt how to breathe effectively into my diaphragm.
Skills Audit
Voice: Projection - 8
I can easily make myself heard on stage. I have a strong voice and I never struggle with volume. I now how to adapt for different theatrical configurations focusing on pushing the sounds through my core.
Accents - 3
I can just about do 3 accents (Cockney, Southern American, American - general). If I attempt to do and accent sometimes the character voice is lost and the performance becomes cliche so I need to work on that.
Articulation - 7
I know how to use the front of my mouth when I talk and have clear diction in my speech. I can communicate my lines clearly with clarity. I know how to use each syllable effectively.
Characterisation - 5
I do very good research on character so I know the entire context of the world that they are living in however when it comes to implementing all these facts I sometimes struggle. I need to work on showing all the research I do through the way the character behaves.
Rehearsal skills - 8
I can effectively rehearse in any given environment, whether that be by myself or with an ensemble. I know to learn my lines cold and to not repeat anything I've done over again.
Movement - 8
I am quite flexible and have basic dance training. I know how to tell a story only using my body. I also know a bit of physical theatre and competently apply my skills to a piece.
Mask - 7
I can use a mask effectively in a scene without breaking the illusion of wearing a mask. I know how to clock the audience so I communicate what I am feeling in a scene and I can also tie in my movement skills.
I've learnt that I should always learn my lines cold so I don't get into a rhythm of saying them. I know to break my script down into the given circumstances so that I can really live in the world of the character. I can now find objectives quicker and easier. I can evaluate my own performance usefully and critically. I have learned to connect my body and voice whilst feeling the sounds of the words. I can make my voice resonate and my articulation is good as well as projection. I feel confident in my space proixmics and am now competent with mask work. I have learnt to research in depth about my character using the internet, improvisations and literature. I know how to communicate my intentions through movement. I now know about my casting range. I have learned about the importance of using breath and spending emotion to really unlock my instincts. I can now work effectively as an ensemble and I understand energy on stage and also how to make good transitions. I learnt how to build a world in response to a stimulus/text. I l discovered how to adapt my performance to a specific audience (Children's Theatre). I have learnt about different theatrical configurations like in the round and thrust. I now know that every scene is a chase.
Have I gained any skills elsewhere?
I studied ballet so I could learn to move on stage (head up, chest out). I learnt puppetry and object manipulation. I did an exercise by complicite with bamboo sticks and learnt to create a story travelling round a space with the stick between mine and my partners index finger. I learnt how to create and 8 move duet with a partner. I did a bit of choral singing and I also learnt how to breathe effectively into my diaphragm.
Skills Audit
Voice: Projection - 8
I can easily make myself heard on stage. I have a strong voice and I never struggle with volume. I now how to adapt for different theatrical configurations focusing on pushing the sounds through my core.
Accents - 3
I can just about do 3 accents (Cockney, Southern American, American - general). If I attempt to do and accent sometimes the character voice is lost and the performance becomes cliche so I need to work on that.
Articulation - 7
I know how to use the front of my mouth when I talk and have clear diction in my speech. I can communicate my lines clearly with clarity. I know how to use each syllable effectively.
Characterisation - 5
I do very good research on character so I know the entire context of the world that they are living in however when it comes to implementing all these facts I sometimes struggle. I need to work on showing all the research I do through the way the character behaves.
Rehearsal skills - 8
I can effectively rehearse in any given environment, whether that be by myself or with an ensemble. I know to learn my lines cold and to not repeat anything I've done over again.
Movement - 8
I am quite flexible and have basic dance training. I know how to tell a story only using my body. I also know a bit of physical theatre and competently apply my skills to a piece.
Mask - 7
I can use a mask effectively in a scene without breaking the illusion of wearing a mask. I know how to clock the audience so I communicate what I am feeling in a scene and I can also tie in my movement skills.
Sunday, 28 September 2014
Why are physical objectives so important?
Physical objectives are paramount to a truthful performance. As Mr. Rennison always says to us "the text should ride on the action not the other way around". The objective gives the line purpose for being spoken without it there is no meaning or reason for a character to even speak! There should be a burning desire for a character to want to communicate something. The true intentions behind speech can't be played believable unless there is action behind it to drive it forward. It also gives purpose for an actor to move in a space. If you have rehearsed a piece and always on the same line you walk downstage left and sit down you are only pretending. If you have a physical objective it allows your instincts to take over and you instead live and move through the text instead of merely saying it.
Breath is a key factor in using physical objectives. If you have properly marked your script you should have slashes for different thought changes. At the beginning of these thought changes you should inhale on the idea and exhale as you begin to speak so that your breath drives the line out make it resonate. You should breath into your diaphragm so that you get the optimum amount of air.
Your objective also helps you to live in the given circumstances of your character. Physical objectives make your performance 3 dimensional and real. If they are absent then there is no reason for your character to be saying anything. Your performance will be fake and "acted" instead of felt.
Breath is a key factor in using physical objectives. If you have properly marked your script you should have slashes for different thought changes. At the beginning of these thought changes you should inhale on the idea and exhale as you begin to speak so that your breath drives the line out make it resonate. You should breath into your diaphragm so that you get the optimum amount of air.
Your objective also helps you to live in the given circumstances of your character. Physical objectives make your performance 3 dimensional and real. If they are absent then there is no reason for your character to be saying anything. Your performance will be fake and "acted" instead of felt.
What is an audition?
An audition is a interview or workshop we're actors who want work meet with the creative team behind a particular project, whether that be a film, tv show, play or musical. You would most likely meet a casting director who wants to see if you are right for the role or position. It often features a practical demonstration of the candidates talent. You want to showcase your skills with something like a monologue that can portray the depth and breadth of your artistic ability.
Some tips for having a good audition are as follows; Smile when you get into the room. If you come off as soon one who is a primadonna and annoying to work with no one will hire you. If it's a touring show and you have to be working and living together for 6 months and you're an absolute nightmare then no one is going to ever want to work with you ever again. Film, tv, theatre etc. are all different thus the audition process will be different aswell. You need to learn how to adapt your auditioning skills on the basis of the job you applying for. If you are auditioning for a play you should research the text. If you know that it's a historical piece on the life of Dr. Martin Luther King Jr. then bring with you some facts or opinions or even text that shows that you have done some studied into the project. This will show that you're enthusiastic and intuitive.
If you are going for a Tv or film part you could possibly forward on your show-reel which is basically a video of the clips that you think best showcase the work you've done.
For a Theatre job you should always act with your entire body and voice. Make sure that you are being heard and seen by the panel of judges. You must show that you have good instincts by reacting to the room you are in (feeling the temperature and letting effect your performance). If you are auditioning for a film role you should use an internal voice because you will be performing for a camera and not a live audience. You must be natural and vulnerable otherwise the camera will never believe you. You must be able to adapt to what ever scene you are reading as films are rarely ever filmed sequentially.
Some tips for having a good audition are as follows; Smile when you get into the room. If you come off as soon one who is a primadonna and annoying to work with no one will hire you. If it's a touring show and you have to be working and living together for 6 months and you're an absolute nightmare then no one is going to ever want to work with you ever again. Film, tv, theatre etc. are all different thus the audition process will be different aswell. You need to learn how to adapt your auditioning skills on the basis of the job you applying for. If you are auditioning for a play you should research the text. If you know that it's a historical piece on the life of Dr. Martin Luther King Jr. then bring with you some facts or opinions or even text that shows that you have done some studied into the project. This will show that you're enthusiastic and intuitive.
If you are going for a Tv or film part you could possibly forward on your show-reel which is basically a video of the clips that you think best showcase the work you've done.
For a Theatre job you should always act with your entire body and voice. Make sure that you are being heard and seen by the panel of judges. You must show that you have good instincts by reacting to the room you are in (feeling the temperature and letting effect your performance). If you are auditioning for a film role you should use an internal voice because you will be performing for a camera and not a live audience. You must be natural and vulnerable otherwise the camera will never believe you. You must be able to adapt to what ever scene you are reading as films are rarely ever filmed sequentially.
Casting vs Cast-ability
In the performing arts business in order to get a job one most go to an audition. Getting this job depends on two different variables; casting and cast-ability. Even though they look the same they are quite different. Your casting really relies on the way you look mostly. This can be quite difficult to alter but you can do things like:
Dress for the role, if you know about character beforehand you can wear clothes that would suit their personality such as if they were a gang member from the mean streets of Brixton you wouldn't go dressed in £200 suit. You can also dye hair, remove piercings, change your status by sitting up straighter or pushing out your chest to give yourself a higher status or hunching your back to make yourself lower.
Now your cast-ability is what is more important. Your cast-ability is the talent you posses and how you can manipulate it to gain a role. There is way more you can do to change your cast-ability e.g. using accents, using front of mouth articulation, adapting your voice for stage or screen, the list goes. The casting directors wish to see what kind of range you can play. Another deciding factor that will improve or hinder your cast-ability is knowing your strengths and weaknesses when it comes to your own style. If you know that you can do a strong American accent but you have terrible posture then you know what to work on!
My own casting range:
Dress for the role, if you know about character beforehand you can wear clothes that would suit their personality such as if they were a gang member from the mean streets of Brixton you wouldn't go dressed in £200 suit. You can also dye hair, remove piercings, change your status by sitting up straighter or pushing out your chest to give yourself a higher status or hunching your back to make yourself lower.
Now your cast-ability is what is more important. Your cast-ability is the talent you posses and how you can manipulate it to gain a role. There is way more you can do to change your cast-ability e.g. using accents, using front of mouth articulation, adapting your voice for stage or screen, the list goes. The casting directors wish to see what kind of range you can play. Another deciding factor that will improve or hinder your cast-ability is knowing your strengths and weaknesses when it comes to your own style. If you know that you can do a strong American accent but you have terrible posture then you know what to work on!
My own casting range:
- Playing age: 15 - 17
- Priest
- Common working man
- Gangster/ Drug lord
- Abuser/ Aggressor
- Action hero
- Dancer/ Artist
- Horror/victim
- Psycho
- Gleek
- Athlete
- Dark humour
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