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Photos    13.12.12

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Homework and in-class work when preparing for an exam    8.9.12    By Adam.

Below are examples of work that are always encountered e.g. choosing a piece and sometimes encountered e.g. editing a piece.

Homework includes:
-choosing, memorising and editing a piece.
-becoming familiar with the basic emotions and any body movements.
-researching the meaning of the piece.
To make the best use of class time it is recommended that you perform this work at home.

In-class work includes:
-imagining the experience of the character and understanding their emotional states.
-working with an audience that can provide feedback in order to perfect a performance.
Much class time is dedicated to help you with this work but of course you can also do it at home.

Generalisations for when reciting a poem    8.9.12

-If it is appropriate use a small-moderate amount of body movement to enhance what you are saying.
-If you have a repeated movement it might be a good idea to have a strong movement followed by a more contained one. For instance there are 2 identical lines separated by a block of text that refer to the swinging of a staff. Your first movement involves a swing so large that your feet move. The audience is impressed but need not see it again. Your second movement is smaller and involves your feet moving less or not at all.
-Ensure there is contrast between all lines. You can do this by using modulation techniques - you should consider your volume, speed, pitch, pace and pauses.

IFA Space jump

· This is an improvisational game that is often played with about 5 actors.
· A director is used to control the timing. In each scene there is a lead actor and supporting actors.
· The rules are loosely followed when beginner actors are involved.

How to play:
1. Each actor is given a number which determines the order in which they come onto and leave the stage. During play actor 1 is joined by actor 2, both are joined by actor 3 and so on until all actors are on stage. When it is time for actors to leave, actor 5 leaves first then actor 4 and so on until only actor 1 is left.

2. Actor 1 starts frozen and by themselves on-stage, in neutral or they have their body posed by an audience member or another actor. Audience members and/or other actors may provide basic information e.g. one or a few of the following: who or what the character is, where they are, what they are doing and what they are feeling.

3. The other actors are in a line off-stage, in a position that allows them to walk on-stage from the back.

4. Upon space jump (when the director loudly says that term) the lead actor (currently actor 1) begins to act. Throughout the game, the first moment of post-frozen acting of each actor should ideally relate to their frozen body position. The exception is when actor 1 begins the game in neutral. Actors should feel free to use sound effects, genres and imaginary objects.

5. When the director thinks it is appropriate (usually after about 30s) space jump is called. All on-stage actors freeze. The next actor is now the lead actor. They create a scene in their mind that is different to scenes already seen in the game. They should plan their first moment (silent) and second moment (from when they first speak to a few seconds later) of acting and ideally make them related to the bodily position of the frozen actor/any or all of the frozen actors. The lead actor comes on-stage and is acting (usually not dramatically) immediately (as opposed to walking into position in neutral). They act in silence for several seconds. Once they speak the other actors unfreeze; they are now in a new scene.

6. The previous step is repeated until all actors are on-stage.

7. Upon space jump all actors freeze. 1s passes and the current lead actor walks quickly and quietly off-stage, and gets back into line. 2s after space jump the next lead actor (actor 4 if actor 5 just left, actor 3 if actor 4 just left etc.) unfreezes. Their first moment of acting is silent and lasts about 2 to 5s - remember that it should ideally relate to their bodily position. They are continuing the scene that they created previously. Their second moment of acting ideally relates to the bodily position of the other actor/s. Once the lead actor speaks the other actor/s unfreezes/unfreeze.

8. The previous step is repeated until 2 actors are left on-stage.

9. Upon space jump both actors freeze. 1s passes and the current lead actor (actor 2) walks quickly and quietly off-stage. 2s after space jump the next lead actor (actor 1) unfreezes. Their first moment of acting is silent and lasts about 1 to 4s - remember that it should ideally relate to their bodily position. They are continuing the scene that they created previously.

10. Upon space jump actor 1 freezes for 1s, stands in neutral for 1s then moves off-stage.

Advanced notes:
· Actors should avoid blocking and try to support the lead actor.
· The lead actor should make good use of the pre-speaking time to think of something interesting.
· When creating a scene the lead actor should ensure that it is obvious that they are the creator. For instance they could ask the current actors “What’s that over there?” and one could respond by saying “It’s a giant cushion.” but the 2nd actor provided the idea. It would be better if the lead actor said “Look at that giant cushion.”.
· A variety of scenes is great to watch. The more dissimilar an actor’s scene is to that of the others, the better.
· Unusual ideas from actors and the audience (if implemented well) are often very entertaining.
· Typically actors will not utilise imaginary actors.
· The director may say “freeze”, give advice then say “unfreeze”.