Antigone Feedback (grades and criteria removed)

Strengths

 

• Effective engagement with research methods to investigate key topics surrounding the Antigone performance project (Greek Theatre Research post/ Brecht research/ Artaud research/ Purpose of Antigone presentation)
• Some relevant, and varied research sources identified, and explanation of understanding provided although this could be in much more depth.
• Good engagement and commitment to the project. Positive approach to rehearsals, and demonstration of focus, energy and creativity in the rehearsal room.
• Effective goal setting for performance and production, detailed in reflections and in one to ones with tutor.
• Demonstration of artistic interpretation in the development of character, ensemble and production. Lots of ideas and suggestions during the devising process, and demonstration of openness and creative performance instinct.
• Good problem solving skills, in particular during the devising process, effective responses to unforeseen circumstances, and ability to adapt to changes quickly and effectively.
• Effective performance skills in rehearsal, performed with energy and commitment.
• Good listening and reactions during scenes, this made you very watchable in performance.
• Good understanding of project goals and social/ political intentions- character motivation always clear in performance (during rehearsal/ rehearsal reflections/ videos)
• Written work accompanying the project is evaluative of performance development and understanding but analysis is brief, and could be explored in much more depth to demonstrate full investigation of ideas, and critical analysis of choices, and challenges.

 

 

Areas for Development

 

Tyler, Antigone presented a good challenge for you as part of a core ensemble cast. You engaged with rehearsal and performance development workshops and activities with energy and commitment, and demonstrated problem solving skills as you contributed to the choreography and direction of the ensemble movement and key choral scenes. During rehearsals you showed us that you can respond naturally and instinctively in the moment, whilst staying true to your character, and you developed a really interesting character as part of the chorus which is excellent. Your performance during the rehearsal process was engaging and truthful. During the creative process you participated in rehearsals and workshops with energy and commitment, and contributed your ideas toward the development of the piece, and learning in discussion, and you have evidenced your engagement with this on your blog in regular reflections, although often these are very brief evaluations of your process. Going forward, I would like you to make research and reflection a priority and try to see it as a practical tool at your disposal; using it to support ideas, and performance choices; and reflect on the context and wider purpose of your project. It’s really important that you demonstrate you can engage with research and reflection continuously throughout a performance project, and use it to your advantage, so I’d like this to be your target going forward!

Antigone Character Profile

 

 

Brain Storms about your character

My character is in the chorus. I am a soldier who at first is siding with Creon and is excited for the new monarchy. As suggested by others, my character is motivated and ready for the job at hand. Being involved in something so important (Creon’s ruling and keeping his laws in order) is a huge thing for me. I have never had such a major role in the community so I am extremely excited. This is something I’ve worked to be able to do for all of my life.

To portray this, I need to:

• Show the excitement in my expressions and body language
• Smile when Creon speaks
• Be respectful of Creon
• Get excited when Creon comes closer to me or looks at me

However, my opinions of Creon change as the play goes on. He scares people and that is something I decide doesn’t make a good leader. He loses a bit of my respect when he orders everyone to make sure that the body of Polynices is not buried. Part of me sees this as immoral.

Eventually, I grow as a person who is no longer desperate for the approval of those high in command and the King and gain some moral beliefs.

Musical Theatre SWOT: When a Felon’s Not Engaged in His Employment

Strengths:

• The movements are simple yet effective at being entertaining. In fact, the simplicity yet clumsiness of our movements add to the humour of the piece.
• The piece has been well choreographed to be humorous and very much resembling the attitudes and manners of policemen.

 

Weaknesses:

• At the moment, we are not sharp enough due to a lack of rehearsal time and concentration, meaning that the piece looks too scruffy.
• We also have not remembered the choreography well enough. There are important movements we cannot recall.
• The singing isn’t great due to a lack of rehearsal time. We know the lyrics but some of us are hitting the wrong notes.

 

Opportunities:

• We could work with other performers and bring different skills to our piece. For example, we could work with the ideas from The Knotted Project session we had and bring in physical theatre.
• If we think about other genres of musical theatre – such as classical or pop – we can merge them in our piece and show we have a further understanding of different ways to portray our characters. This also gets us out of our comfort zone to enhance our range of capabilities of different styles.

 

Threats:

• Because we have been very busy with Antigone, there has been less time to rehearse this piece (both singing and choreography).
• We have struggled to organise rehearsal time during free time at college. If we all focused more and wanted to perform to the best of our abilities, we would have done this.
• Due to Coronavirus, we also have no time to rehearse. It is also much harder to rehearse by ourselves at home.

National Theatre Antigone Scene Analysis

The task is to watch Antigone (Filmed Live at The National Theatre) and write analysis comparing a scene with our own adaptations.

I chose to write about two scenes as they coincide with one another: Creon’s Entrance & The Soldier’s Entrance.

Whilst watching, I began making notes. The initial, obvious thing I noticed was that the set was different. The chorus were not soldiers (which is what we had done), they were political minions of Creon. The set was a low-lit office that filled out a wide, end-on stage. Our version is all performed on a thrust stage. The lighting is just as dim and the atmosphere just as tense.

When Creon appeared, I noticed that he seemed less accustomed to being King than our version of Creon did. I personally felt that he was much more laid back and less used to his new-found authority which I found effective at showing an intriguing personality to Creon. Unlike our version – where the chorus are often cheering and clapping in celebration – the chorus in the National Theatre version only clap once. It is extremely on queue after Creon finishes a line with “mine by right”. The clap is brief, and the chorus seem way less proud of their new king than in our version. The soldiers are also stood completely still at the sides, which is how we originally blocked that scene but then changed it to involve much more movement. The lack of enthusiasm of the chorus compared to our’s sets a different atmosphere entirely. I think that both are effective at being engaging to the audience.

Conclusively, the soldiers seem less afraid of Creon. For example, the line “We are not mad, sir” is said with a sort of mocking laugh. This behavior would not be acceptable to our version of Creon. He would be far more intimidating; making sure that no one questions him without a serious tone. The line immediately after, “We know the law – and the penalty for breaking it.” Is said to Creon as though challenging him and telling him that they don’t need him to tell them what will happen if they fail him. In our version, that line is less significant. Creon barely notices it which gives a different atmosphere entirely; it tells the audience that he does not care much at all for what people think of him.

Shortly after this, the Soldier enters to bring the news that Polynices’ body has been buried. In our version, the Chorus and Creon are still on high alert. As soon as the Guards bring the Soldier in, everyone is extremely attentive. However, in the National Theatre’s version, the Chorus and even Creon are about their own business in the office set. Most people are sat down at a desk; Creon included. The soldier speaks for some time before saying the line “The body’s buried.” This is when Creon stands up and the Chorus are alert.

In our version, the Chorus are the ones moving about, chatting to each other in shock after this line and Creon is stood still, staring at the Soldier and waiting for him to expand. In the National Theatre’s version, Creon is the one doing most of the moving. However, Creon still remains to be less bothered by things. He jokes and laughs whilst leaning against a desk when saying “Do the Gods love criminals, these days?” This attitude works well as he had just said “Quiet, all of you, before I lose my temper.” This shows that he hasn’t lost it. In contrast, our Creon losing his temper and raising his voice a lot more in a harsher tone is effective also because it shows that our Creon is more impulsive and new at being King.

11/03/20

We completely altered the Miracle of Man speech. Now it is so much more interesting and we move with purpose. We also added in the fences to show what we were guarding and to make the scene more visually entertaining. This leads on to Antigone’s arrest scene which we then rehearsed altogether.

People were also given new lines for when the main characters are frozen and we are walking around.

10/03/20

We made some changes to the scene where Creon first talks to us as it wasn’t very interesting before and we were all stood at the back, still.

• Chorus stands with hands behind back, formally as Creon begins speech
• ‘I claim the throne’ – cheer and move. Congratulate him, greet Eurydice.
• ‘Shall ever be any friend of mine’ – Cheer
• ‘The Fatherland’ – mixed reactions, clapping but cautious murmurs.
• ‘Friendship downs with us’ – lift Creon up on shoulders

09/03/20

Today was just a rehearsal day. We didn’t input any new ideas but it was good to get a rehearsal in and memorize what we had done last time. We rehearsed both the first Chorus Scene and the End scene.

05/03/20

We created a movement where we run about to portray a sense of chaos for Antigone’s death. It was based on Frantic Ignition’s Run Boy Run piece.

The chorus were then given lines for the scene where we’re waiting for the news of what happened to Antigone and we’re told about Heaman’s death.

Euridacye is also told about he son’s death in this scene. We blocked this scene then went into the scene that Creon brings Heaman’s body on stage and Euridacye kills herself and blocked that also.

27/02/20

1st Chorus Scene

• Added a lift that we learn in the Knotted project workshop
• Choreographed chaos so not as messy
• Sorted out the drinking song and who we are singing to
• Created an atmosphere by using background sound by MJ Macarthy

Antigone’s Death Scene

• Practiced the chorus being intimidated by the guard played by Billy
• Played around with a chant that we could use in this scene

Ascot Gavotte Research Post

The Context of the Extract Within the Musical

Ascot Gavotte is the name of the song and dance we perform from the Musical My Fair Lady. In this scene, upper-class citizens are attending the Ascot opening horse race.

The story of this musical is about a young flower girl named Eliza who is being trained by Henry to become ‘proper’ and pass off as a duchess. He takes her for her first public appearance which happens to be the Ascot opening race.

The Time the Musical was Created

The musical premiered on Broadway, March 15, 1956, at the Mark Hellinger Theatre in New York City. It was followed by a popular film version (1964) which received many awards.

The Type of Musical and the Style it’s in

My Fair Lady is a comedy-drama made in America but set in London in 1912. The dances are simplistic and classical as well as many of the songs. Some of the songs are cockney (such as Wouldn’t It Be Loverly).

What was Happening in the World when the Musical was Released?

The musical was first released in 1956 in which there was an increase in living standards and a focus on education. This relates to the musical in that more and more people where getting an education and less people were in the working class. The Rock and Roll dance craze was also sweeping the world at this time (thanks to Elvis Presley). This completely contrasted to the poised, upper-class dances that required very little other than a still, upright posture. It also made My Fair Lady more amusing to watch.

Impact on the Industry

A list of the awards that the My Fair Lady won as follows:

• Academy Award for Best Picture 1965
• Academy Award for Best Original Music Score 1965
• Academy Award for Best Actor 1965
• Academy Award for Best Director 1965
• Academy Award for Best Cinematography 1965
• Golden Globe Award for Best Actor – Motion Picture Musical or Comedy 1965
• Academy Award for Best Sound Mixing 1965
• Academy Award for Best Production Design 1965
• Academy Award for Best Costume Design 1965
• Golden Globe Award for Best Motion Picture – Musical or Comedy 1965
• Golden Globe Award for Best Director 1965
• BAFTA Award for Best Film 1966
• Directors Guild of America Award for Outstanding Directing – Feature Film 1965
• David di Donatello for Best Foreign Actor 1965
• David di Donatello for Best Foreign Actress 1965
• David di Donatello for Best Foreign Producer 1965
• 1957 Tony Award for Best Musical
• 2002 Laurence Olivier Award for Best Musical Revival

Clearly, it was very popular and award-winning.

The musical’s 1956 Broadway production was a notable critical and popular success. It set a record for the longest run of any show on Broadway up to that time. It was followed by a hit London production, a popular film version and many revivals. My Fair Lady has been called “the perfect musical”.

Using This Information to Develop my Performance Skills and Enhance my Connection to the Piece

Without doing the research that I carried out for this unit, I wouldn’t have known the story line of the musical. I am now confident that I know the plot and its characters as well as the styles and accents the musical includes. This means that I can now apply my knowledge and understanding to my performance in Ascot Gavotte and that my character within it will appear more realistic and purposeful. Not only does this knowledge allow me to build the correct sort of character when acting and dancing, but now I will be much better at singing with purpose as I know what I am actually singing about. I also now want to watch the musical in its entirety which means I’ll understand it even more.