#I fear the day capitano gets a face reveal and it will look like an ordinary human ;-;

[satogacrank]

Genshin characters are way to complicated for me to draw and I don't have the will power or the patience to make more fanart for them.

So here have an abyss Capitano and lets hope he never gets his face revealed.

[bye-bye-sunbird]

I just… I just had an image with Capitano and his darling

Just imagine him being sent to a mission to Mondstad or somewhere, and when he is walking trough the fields of grass, he gets to watch a person who was so entranced by the nature around them that they didn’t notice the Harbinger.

The contrast between him and the person were stellar, but when they turn to face him, they didn’t scream nor acted with fear, they saw him as someone new in their life.

“Care for a little chat?” They would say, patting the grass beside them in an invite for him to sit by their side.

The man was confused, but his curiosity got the best of him, and so he went and sat down. At first the person started talking about things that amused them, or pretty sightings they got to see when they travelled the lands. Capitano, even if he wasn’t talking that much, kept his whole attention on his company.

They didn’t seem to be interested in important things like gods or current events, they just seemed to be living a tranquil and quiet life. He noticed that the person was so trusting, and that bothered him a little; if it wasn’t him who they met today and say, they saw a treasure hunter, they would surely be hurt, or worse, dead.

This person was starting to symbolize a flower in his mind. So full of life, of beauty and peace. Someone who belonged in these green lands and in touch with nature.

“Are you leaving soon?” Said the person after some time, clearly noticing how the skies were darkening with all the time they spent together. The man looked at them, and they smiled.

“I have to.” Was all he said before he got up and dusted off his cloak, waiting for them to get up to properly bid farewell. The person kept looking at him, and just when he was about to leave, they said the following:

“I’m grateful for this day, thank you. I hope to see you again soon.” And with that, they bowed a little bit and started walking away, not noticing the stare Capitano was giving them. This person was… strange, to say the least, but that doesn’t mean they were a burden or that they gave him a bad time; to be fair, he enjoyed this time so much that he was sure to visit them again.

And so, this little meet ups started to become more and more frequent, with the person always waiting for them on the field, and with him always coming back. Sometimes he talked a bit about his homeland, careful to not reveal many things about his identity or his work, and the person listened in wonder and awe. Their relationship was slowly but surely growing, just like the flowers and the trees in the field.

But good things always come to an end.

His mission was complete, and when he realized what this meant, he started thinking of ways to tell the person-no, his darling, of his departure. But… did he really had to leave alone?

He started to think about what a life they could have, with him working and with them tending to the flowers of their home… oh how wonderful it would be to come home late and be welcomed by them, to be kissed by them and embraced on their loving arms.

Yes, surely he had to get a prize for his job well done, and what better prize than his beautiful flower? He only hopes that they can handle the cold weather of Snezhnaya. And so, he got walking, eager to see your face under the bright sun for a last time before the change of scenery.

(!<€!%£#! THIS WAS MEANT TO ONLY BE AN ASK ABOUT KISSING CAPITANO ON HIS HANDS, AND LOOK WHAT THAT EVOLVED TO 😭)

Wdym, this is amazing food, dear anon akjsndjkdsnkj 👌👌👌

[dramawithinme]

Drama Journal

What we explore in year 12 Drama 2017 - Year 13 Drama 2019

8/29/2017 - 8/31/2017

We explored the introduction of the character: Bertozzo and thinking about how he is intending to show himself as a character to the audience, understanding that he has different goals such as trying to become friends with them, manipulate them, intimidate them, show them that he’s angry or trying to make them pity him…

I was the first one who performed, I used large and big movements. It was embarrassing for me since I was first... It was actually hard to perform since I have to focus on speaking/changing tone while acting out my body movements.

Here, we tried different body languages, pace, the tone of voice to change the intention of Bertozzi.

We also explored the spacing effect of the performance and we noticed how it affects the performance, the audience’s view and character relationship. It was an interesting process since we got to learn how to engage the audience.

But as we continued, we’d learnt how the use of space, levels and breaking the fourth wall works… It is all about staying in character as we interact with the audiences.

9/5/2017 -9/7/2017

Cailyn’s research is about Paris in 1968 and Vicky’s Anarchist research:

From research, the year 1968 was a difficult time for Dario Fo that I understand. There was a riot happening in Paris, France, spreading to Italy. Because of the political activism (an effort to promote political, economic and/or environmental ideas for improvement with the desire to make improvements with the society), the theatre was also affected and his dislike for the hypocrite governments increases. Not only was that in December 1969 there was a bomb in the centre of Milan. 16 people were killed and another 90 were injured. There was also a bomb nearby where the police blew it up rather than disarming it, causing the clue to also be blown away. This is where the Anarchist comes in and Giuseppe (Pino) Pinelli fell out of the 4th-floor window. But sadly, I only understand this through research. For improvement of the audience's understanding, I think that the there should be some introduction and explanation of the history so that the audiences would get the grasp of what had happened.

Ong did a presentation about the stage acting style of Dario Fo which linked with my topic and that is the Commedia Dell’Arte.

We talked about how we should add background information for the audiences that do not have any knowledge about the Anarchist so that they would understand what the story is about a lot better... We also talked about how we should put in little reference from the audience’s local area so that they can also relate to this play’s topic.

Continuing, we explored the style of Commedia Dell’Arte and we’d realized that each of the Accidental Death’s character can relate to some of the Commedia characters. We did a small workshop for Il Detore, Arlechino, El Capitano and Columbina so we merged the characters together, for example when Vicky and Ong tried to test out the movement of Columbina’s posture as Feletti. We understood that the play was supposed to be performed in a loud and large posture, movements, tone and actions that is extremely eye-catching.

The question of that day... As a director, how would you use Commedia Dell’Arte in the Accidental Death?

9/12/2017 - 9/14/2017

A monologue in chapter 10 to 14.

I would like the audiences to see him (the Maniac) as a mad, friendly, imaginative and an amazing person. If I was the director, I would use a lot of miming on the props; the telephone and the files, showing his imaginative side. I would make him break the fourth wall often; throwing the files out of the window but at the audiences as the maniac tell them sorry (breaking the fourth wall) as they were hit by the paper. It would be nice if the audiences feel the bond with the Maniac, either in a friendly or bittersweet way when he apologizes to them.

9/19/2017 - 9/21/2017

I’d learn this analytical technique of using TEAM:

Tension

Emotions

Atmosphere

Moment/Message

We’d explored the idea of what it is like to be a Theater director... And to do that we’ll have to pick out two scenes to explore its TEAM, we will have to direct and find a way for our cast to perform. I must say that this is a very difficult task for me since I dislike forcing people to do stuff and I am also scared that I will be judged for my idea... But I guess I just have to face my fear and work as hard as I can.

The first things I’ve learnt to do as a Director is that I will need to get my cast to understand the play, the scene and each character’s role, goals and personality so that they would know what to do and feel.

Me: Ending scene and the Interview scene

I’ve chosen the ending scene.

The 2nd scene that I’d chosen is the Interview scene.

10/03/2017 - 10/05/2017

We were exploring the idea of stage design. This will involve the use of stage props, decoration and lighting to give the right atmosphere for the audiences to understand. I also noticed how staging can impact the time and the atmosphere; having it play a big part in the play.

We were also exploring the Theatre Context, Presenting Theatre and the Theatre Process within the three days. I’ve learnt about the word vignette in a playscript; about the different chunk of parts in a play... For example, Love and Information contain a large amount of vignette instead of just one plot. But the vignette links!

10/10/2017 - 10/12/2017

Right now we’re looking at the Theme of the play text: Love and Information. On the 10th of October, we were discussing on how to plan and explore the play text. We were looking back at how we were exploring the stage design; how we use the sense of what’s going on within the stage while using questions like: What does the play smell like? What do you think it’ll taste like? What is around you? Just something out of this line...

The theme of Love: How have our attitude to love and changed/our behaviour in love and relationship changed in the last 2012.

Choose 2 vignettes and explore the scene - I’m doing scene 7.

I’ve found out about a French word: Vignette and how it means a chunk of stuff.

We learn about how titles can greatly impact what the scene is about. To let the audiences know about the title, we can use placards, use the narrator and maybe add powerpoints... Though, the title doesn’t always need to be told if the scenes are clearly performed. We were also talking about stage design and imagine the stage/place by using the 5-6 senses and question yourself why. We found out about how vague, unclear and versatile the play is; you can perform the scenes by using improvisation and perform in it many different kinds of ways.

To perform you’ll have to open to interpretation and think about...

The different performance styles: Comical, realism, unnaturalistic...

The theme of the play...

The relationship of the characters...

And to do this, we can do a workshop e.g. a character workshop, a scene workshop... As for a character workshop, we can work on devising and stay in character as we do so...We were also looking at a style called the Movement Sequence. We were exploring the style by having each character move in pattern as if it’s a Dance move. As we do so, we were doing it with music (it’s easier to do since there’s a beat to it), letting other say the part for you (easier to focus on the performance but it doesn’t fit the situation) and you saying the part for yourself (best option, it’s easier to reveal emotions, but harder to perform since you cannot focus on one thing. Though to speak, the attention will be taken off from the body language but to the expression and voice). The Movement Sequence let us explore body language and how movements and gesture can show feelings, emotions and tension. Movement Sequence is “fun to watch, but hard to understand.”Here’s the question of the day: When you’re exploring Love and Information in an unnaturalistic style, does it fit? Is it effective? Does it reveal new things? If yes, then what?

11/07/2017 - 11/09/2017

Within this week, we experiment on different scenes in the playtext of Love and Information.

What I’ve learnt from Ong’s directing:

The actors/actress should also know and understand the scene. We do this by reading and summarise everything. We explored Flashback; using this way of letting 2 people speak as the other 2 act and try to deliver the meaning through action (plus moving montage), acting to what the 2 speakers are saying. We want to make it seems like a dance.

Letting the audiences see the actors moving props makes the scene seems too clunky and distracting, leading to the atmosphere being destroyed.

We were also talking about how we want to use lighting to represent different places. E.g. Green light to show river...

The colour of light will change in different scenes.

Music was added in the play.

In Vicky’s directing:

Act as if something had happened before.

Rely on tone/voice and facial expressions.

Adding sub characters to build up the scene.

Trying out different situation...

In Caitlin’s directing:

Staging plays a big part as we perform.

We can use the projector which is similar to lighting; it changing the scene and giving out atmosphere.

Light focus on character to show state or focus. In the play, light shining on a character shows that she is fully awake. And another character’s light will be dim to show that his/her mind is asleep.

In my own directing:

Trying out immersive approach/theatre.I want to show a bond but the characters are too far apart from each other which destroyed my goal. Change staging to In-the-round. Walking around the audiences in the dark; feel what the autistic kid feels. Trying out: having the character to not move which doesn’t change anything.

Everything changed when we gather the bully up and it finally shows the bonds and increases the aggression.

The autistic kid will just sit on the ground which shows the level of who is in control and that is the bullies.

11/14/2017 - 11/16/2017

This week we explore the Director Journal's questions and how to write it.

11/21/2017 - 11/23/2017

In the future for IB research presentation, the goal of writing a good presentation, we will need to explore the different assessment criteria... Keep in note that the quality of the presentation does not matter. It only matters when you...

A = The theatre in context: The tradition and culture.

Show your good research and understanding of the theatre tradition. You will need to explain and describe the theatre tradition by adding appropriate sources and put the information into good context.

B = Theatre process: Practical research and approach to application.

This is the part where so many other IB students lost points on and it’s one of the easiest bit to do. So what we have to do here is to just describe “HOW AND WHY” you are doing or chose this.

C = Presenting theatre: This does not involve what I told you (future me) that the quality of the presentation doesn’t matter. This meant that you need to use your tone and body to demonstrate what is going on/

D = Theatre in context: The Learner

This, you will need to compare the chosen theatre tradition with a different one. You would also need to talk about the impact of this theatre tradition to yourself and what it made you think.

WORK HARD AND GO TO YOUR DREAM UNIVERSITY, PANCHIWA :) !!

Now, after looking at the research presentation, we were looking at how plays were performed, designed and presented back 400 years ago in old England.

I found out that when an actor receives a role, they will just be given a role of paper.

Back then there is no director in the old days and that they have very little time to do the stage and memorise everything.

Talking about staging and how you’re able to engage the audiences.

Endon stage = You can only engage the audience by looking at one direction.

Thrust stage = There are three directions that the actor can face. It’s easier to engage. More of a storytelling way.

Elizebethan theatre - looking at the camera does break the fourth wall but it does not break the emotion that is displayed.

11/29/2017 & 11/30/2017

Secondary sources about costumes:

To know the cultural background.

To show the social context; the status, ranking and etc...

Costumes is a conventional design not performance design.

Reconstruction of what they used to have.

To look at what they have then.

“Martin White” research on the reconstruction of an indoor theatre + lighting.

Costume define a class.

It affects the acting.