#good character design exercise to figure out with parts to keep while still being recognisable but also fitting with the new world!

[smalltimidbean]

IT'S THE WORLD'S MOST SPECIALIST GUY, EVERYONE CLAP NAOW!!! (silly!!!)

Satoshi but as a Fake Peppino clone, so no longer Satoshi but still mostly them jlkdfgkj

They do need a different name tho, bc my food-themed naming scheme can not be ruined!!! (silly! I already messed up on that early on, but still jkfdjkfsd) - I would refer to them by number, but I am leaning towards them being one of Mr D'Angiolini's... 'Special Request' clones for 'Personal Use', so they wouold not have a number, but I have not decided yet!

For now; They are here, and ready to get sillay

[emmaturneractor2017]

Rehearsal Schedule ( also shared)

Activity

Progress / Reflection Notes

Week 1

18th / 19th Jan

Briefing from director

Read-through

I had only experienced the work of John Godber through ‘Bouncers’ which I had performed several years ago as a BTEC student. I had no idea of the radical and far reaching impact his work has had on modern British theatre, placing him alongside figures such as Ayckbourn and possibly even Pinter as one of its foremost exponents.For me understanding the theatrical climate in the UK at the time the play was written was essential as it allows you as an actor to understand why the play was written. The play was written in the late 80′s with unemployment high in the UK, under the rule of Margaret Thatcher. Inequality was a huge factor of the society at the time and I feel this inspired Godber when writing Teechers -“Margaret Thatcher’s most important long term legacy is likely to be the huge rise in equality that she caused, the widening of income differences between rich and poor that took place during the 1980s is the most rapid ever recorded” (Guardian, 2013). Godber tended to write about real life situations involving ‘real’ type characters and I think this results in his popularity. When asked by the ‘The state of the Arts’ why his plays such as Bouncers are still relevant he replied “ I guess because they are the truth” (thestateofthearts.co.uk, 2015)

I was amazed at how fluid the language was once we began reading the script. Our director had told us that the author has written into the play the concept of updating and localising the language. This gave us a far clearer run at establishing meaning and subtext from the outset. We quickly recognised that the piece was a ‘play within a play’ so multi rolling would be involved. The director quickly pointed out that one of the main aims was to ensure that each character we would be playing needed to be clear and show contrast. As an actor this challenge was exciting. 

Week 2

25th / 26th Jan

Casting

Outlining of concept

We were called for our first ‘production meeting’ with the Director Alex Norton. The directors role within a production ranges from casting, directing and assisting the actors- “ You will work with actors, casting them for the parts, advising them on characterisation and generally preparing them for the public performance” (Mccaffery, 1988. Pg 7). The director makes it clear that he wants us to fully understand the concept of the piece and asks us to all make individual notes about our own initial thoughts about the play. He then gives out the parts and again, asks us to make notes on our feelings and ideas about the characters we have been given. This was hugely beneficial as we could then have a discussion between the cast and talk about our different ideas for set design, costumes and music. I am cast as Mrs Parry and Kelly Marshall, I understand that I am going to have to make decisions on the characteristics to ensure they are completely contrasting and fit in with the context of the play. 

Week 3

1st / 2nd Feb

Production Roles assigned

The director decides to give out production roles to each cast member, these include; Assistant Director, Head of Props, Head of music, Head of Costume and Script Editor. This ensures that all roles are done properly and nothing is missed. We decide there will be a production meeting once a week so we can update each other on where we are up to and make decisions on any changes that need making.

Week 4

8th / 9th Feb

Initial blocking

We begin to block the first couple of scenes, the director tells us he would like us to enter the stage through the audience as this will give the audience the feeling of involvement and set the ‘school hall’ type scene. The director reminds us that the piece is a play within a play, so keep in mind that the different characters we are playing need to be clearly different. Improvisation exercises and ‘hot seating’ which involves the actor being asked questions as their character, helps us build up the character and add layers to the performance.

Week 5

15th / 16th Feb

Scene Blocking/ Direction given

We begin with the first scene and start to block it. Different members of the cast are able to give their own ideas and the director talks us through his decisions. The director speaks to us about how a more experienced actor should be more aware of the space they are working in and others around them. “Good actors are aware of the space and time within which they are working and just how strong an impression they need to make on it” (Harrop, 1992. Pg 46)

Week 6

1st / 2nd March

Scene blocking

We continue with blocking the scenes, the cast are becoming more comfortable with their characters and start to understand the main ideas of the piece. Often ideas are put forward by members of the cast, we discuss them and try them out. It is much more effective to get up and try ideas out rather than just discuss, things may not always work but at least we’ve given things a go - “One can read all one wants, and spend eternity in front of a blackboard with a tutor but one is not going to learn to swim until one gets in the water just so with acting” (Mamet,1997. Pg80). I always keep in mind my relationships with the other characters in the piece and how I should be interacting with them on stage. The director asks us to use our character names out of rehearsals so we get used to ‘thinking’ like our character.

Week 7

8th / 9th March

Set Discussion

We discuss what type of set we would like, what we think will work and what is needed to make sure each scene is clear for the audience. The stage manager notes down any changes we make and asks if anyone has new ideas. With discussions always being so open, we are constantly coming up with new and creative ideas. We decide in this meeting that we want to include a ‘prop box’ that will hold simple pieces of costume and props such as a laptop bag for Mr Nixon and a floral blazer for Mrs Parry. Each time we change character we go to the box and use the relevant piece of clothing or prop. This is done in full view of the audience to enhance that ‘school play’ feel.

Week 8

15th / 16th March

Improvisation exercises/ Character recap

The director introduces a improvisation game which allows the cast to think on the spot in character. This helps build each character and make them more believable. I think doing these exercises throughout the rehearsal process is absolutely vital in ensuring that the characters are as detailed and believable as possible. The director encourages us to have group talks in complete character, this helps us to think like the character and really understand their behaviour. I know that as an actor having an ‘objective’ is vital as it gives you something to focus on and helps you think like the character as stated in the book written by David Mamet- “We know what we want, and, therefore we know weather we’re getting closer to it or not, and we alter our plans accordingly. This is what makes a person with an objective alive, they have to take the attention of themselves and put it onto someone else” (Mamet, 1998. Pg 74).

Week 9

22nd / 23rd March

Further scene blocking

We work our way through the piece, blocking each scene. We are constantly discussing between ourselves and the director what we think works and what will have the biggest impact on the audience. With the piece being a play within a play, multi rolling is involved. One of the main aims to is to ensure that all character changes on stage are clear for the audience. At first I struggled with my physicality so decided to choose two very different ‘looks’ for my roles. With my first character, Kelly marshall I have a hunched over, closed type body language. She is a shy girl so this physical appearance adds to that. With my second character Mrs Parry she is loud and confident so body is always very open, big arm movements and a lot of contact with other characters. The director speaks often of ‘actions’ which basically means understanding your characters goals and relationships within the play. I think it is best to keep the aims simple and most importantly achievable. “ The action has always got to be simple, it can't be accomplished” (Mamet, 1997. Pg 73).

Week 10

29th / 30th March

Production meeting

We have a production meeting discussing where everybody is up to with their production roles. The director is absent from this meeting so as Assistant Director I step into lead the meeting. I go through each role such as head of props and costume and ask if things are all up to date, talk about any problems and ask when they think everything will be completed. I also ask if their are any scenes that people would like to recap on. We decide to go over the opening scene as it is a while since we have rehearsed it, the run of the scene goes really well and decide to add music. We feel this adds to the impact on the opening of the play.

Week 11

5th / 6th April

Meeting with Costume Department

We try on our costumes, ensuring everything fits correctly and everybody is comfortable enough and able to move properly. We make sure that any extra costume that will be kept in the prop box is also ready and fits.

Week 12

26th 27th April

Finish blocking/ Recap

Finish blocking scenes, we tidy and recap any sections that feel needed. After each scene we recap and ensure that everybody is fully comfortable with the scene.

Week 13

3rd / 4th May

Repeated Full runs

The director has instructed us to perform two full runs this week. This allows us to get a feel for the real thing and if their are any problems we can deal with them and make sure they don't not happen on the final performance. The full runs go really well and make the cast feel ready to perform, no lines are missed and it is full of energy.

Week 14

10th / 11th May

Final Dress runs

Everything is complete and ready. Costumes are finished, music and lighting are set and rehearsed and everybody is feeling completely prepared. 

Week 15

PERFORMANCE AT ST. GEORGE’S HALL

Overall the show went absolutely brilliantly. There were no errors with the technical side and the performance itself went without problems. We received amazing feedback from audience members. I am told by an audience member that the comedy elements of the piece were excellent and that my two characters were always extremely clear and easy to understand. They say the contrast between my two characters was brilliant and showed outstanding technical acting skills. I was also commented upon my accent and physicality.