G-Pilot

Do not worry Lisa, I am also hating myself right now. Sophie is soooooo  full of crap. Bah!! *vomit* *vomit*. I have lost her and cannot find her. And I also realised that I only have an accent for half of the play which is brilliannt considering we open this week. Lisa I would like to sit down with you sometime this week and discuss somethings that perhaps have been bothering you because I also need help and will be happy to give you some constructive critisism.

Lighiting

The lighting plan for ‘100′ is coming along well, with a few minor adjustments being made this week. Our first job once we enter the theatre will be to rig the lights according to our plan. The set-up which we enter the theatre at and what we must leave it as will be standard rigging. Our plan is standard rigging, altaring some colours, adding and angling some profilers as well as including flood lights. Once the set-up is complete patching will need to be planned, under the conditions of Bethany Carswell, our lighting operator. Once the plan is completed we can plug all the patchpoints into the lighting desk and begin plotting.

After Dinner

After Dinner was a very different style and genre of play. The charcaters were much more modern and alot easier to research.  The setting of the play was excellent, transforming the audience are into part of the set. The lighting was very basic but effective however some of the transitions lacked flow. An example of this is when more serious conversations took place and the lighting was gradually dimmed without the audience realizing but then were suddenly flashed back up which was a distraction from the acting. The actors were all great, each very different in every aspect. The learning of lines for this particular play I would imagine would be very difficult as many conversations go for long periods of time with not much action, therefor giving no movement for the actor to connect with the line. This theme of long discusssions which ran through the play was the times at which there was a chance of losing the audience’s attention. However, the strong and contrasting, whose dynamix drew interest, saved this from happpening.

Pilot.

Do you know  that feeling you get when you wake up in the morning and it’s hard? No… not that feeling. That anxious nervous feeling at the top of your chest when your heart starts beating faster and your face gets red and hot. When you can feel like you can no longer hold it together and you can just slowly feel yourself losing control over your body and emotions until it just slips away.

The other day I was talking to a friend who was upset but at that moment contained and she said she was fine until people spoke to her. She was able to block out the thought until someone would speak to her and push her to think about it. 

This what happens to Sophie. She has become so praticed at blocking out her trauma that there is almost nothing that could push her to show how she really feels. That is until her experience in the void. The questions from her fellow ‘voidans’, “what was your goal?”, “so what went wrong?”, are all little scratches at the surface which make her uneasy. It isn’t until her argument with the guide that we really see her start to lose control.

The guides interogation techniques push Sophie to focus her mind on the one thing she is avoiding. The two characters work together, Sophie slowly running out of excuses becomes nervous and fidgety (the feeling descibed in p.1+2) and the guide sees and feels her the energy and from it is encouraged to continue pushing. The two build the scene in intensity with movement, volume and emotional tones to a breaking point (highlighted by lighting) where everything the audience has become accustomed to dissappears.

Sophie’s feelings at this point are all that we see. Shee turns inside out. All of the mannerisms adopted by her persona to hide the person she really is dissappear. Her movements, her dialogue is all competely natural and powered only by what she is feeling. There are no stereotypical or sociological elements, it is completely bare.

From this point on Sophie’s physicality and reserved speach is completely changed and we see a completely different person.

Well there is nothing else to write about this week so I thought I would just ramble about stuff. We have a lesson tomorow (Friday) but I think we will be sleeping. If anything interesting does happen I will add to this blog.

Pilot.

First of all congradulations to Tasha, who did some of her finest work on Monday’s class. I don’t know whether it was Mr Aiyapan’s presence but it was the first time I saw her in the zone and really relaxed. Really good work done by all the cast that day. It was great to see people focused and really listening to what Lisa was saying. I think perhaps it was because Mr Cooper wasn’t there that people felt the need to pull together and be self disciplined rather that having someone else do it.

Rehersing is so much easier now that we have learnt our lines!!! congratulations to everyone on doing that. The flow and rhythm starts to happen and all of a sudden poeple are in their characters and we are rolling through scenes. It can be very annoying when people forget their lines which is why I would like to say sorry for Fridays class where I was all over the place.

Thank you to Mr Cooper who has started a lighting design which will really help Beth and I along because at the moment we are a little unsure about how exactly we should go about it. I have been reading through some books about theatre lighting so I can understand the angles and volume of lights to get the desired effect for our show.

Can I make a suggestion that all cast, including myslef, read over the script to remember blocking for memory scenes because at the moment that is what is missing and is a huge distraction during a scene when you realize your in the wring spot.

Pilot.