Incase you were wondering what going to class is like after being awake for twenty four hours, it kind of goes like this:
Walk in, sit down, open computer, internet is down, click the internet icon again, and agian and again, doesn't work,bang head against desk, read comics till teacher enters the room, totally forgot what I was doing, left the comics up on my screen until Good Looking Upper Year sits next to me, GLUY (wow name change needed, how about Sexy Upper Year) so SUY, (not GLUY) sees comics, looks at me, im pretty sure im drooling at this point, looks back at comic, then back to me, it clicks that the comic may not be all that impressive to her, i close it, she giggles, WHOLE CRAP TEACHER ATTACK WITH NOTES, CAN"T FOCUS ON ONE TOPIC, and the notes are done, he talks for what seems like days, still an hour left in class.
Showing posts with label 24 hours. Show all posts
Showing posts with label 24 hours. Show all posts
Thursday, 2 December 2010
GOOD/BAD News
Turns out that these essays i've been writing aren't suppose to be persuasive. But more personal thought mixed with some reference material to support. I hope he likes my earlier work
Lie Down, But No Napping!!!
I have learned so much in the last 9 hours, and if i ever do this again i shall do the following
-Start right after some good sleep, not just carry over from the day before
-probably do all my notes before hand
-Invest in Coffee machine, because tay is not strong enough
anyhow im going to take a long break, probs wont be on for a couple hours, don't expect anything for like 3 or four hours
-Start right after some good sleep, not just carry over from the day before
-probably do all my notes before hand
-Invest in Coffee machine, because tay is not strong enough
anyhow im going to take a long break, probs wont be on for a couple hours, don't expect anything for like 3 or four hours
These Are Getting Worse, Acting Voice
Ok here's essay 6 which means i have just past half way on the Mini essays
Im thinking im going to stop with them now, and begin gathering notes for my film essay which must be 1500 words, then a power nap, then back to the mini essays, then finish with some more film
An actor’s voice is as important as an actor’s body. As Barranger puts it, “The voice is our means of communicating to others, presenting ourselves, expressing our personality, thoughts, and feelings.” There is a need for us to speak and communicate. For actors that need is rooted in conveying a story, and defining a character.
The hard part of conveying character through voice is the practicality of theatre, as Cohen puts it “You must live the life of your character, but also be heard in the back row.” Actors must be able to whisper so that it sounds like a whisper but is also able to be heard by the audience. Volume is only part of the challenge, because even if you’re heard, you still have to create that believable connection between you’re character and the audience because “Unlike the singer whose ‘sound’ is the message, the actor’s voice is an extension of a person” says Barranger. The accent must be correct, If an actor is suppose to be Italian, but he sounds like Michael Caine, the audience wont believe him. If you’re actor is suppose to be energetic and bouncing around, but the voice sounds depressed, then the audience wont connect with the character.
Barranger describes modern voice training as “Open[ing] up the possibilities of the voice-its energy, its instinctive responses to what the actor has to say.” The point of voice training is to open up the different kinds of characters for the actor to choose from. It is important that the actor learn to combine both physical body movement, and voice to accurately portray the emotions and complexities involved the the character.
An actor’s voice is a tool of communication, just like the actor’s body. Different tones can denote different emotions, and or meanings to the speech. When combined with the body, the actor now has two effective tools, from which he can communicate a character with depth, and complexity.
Im thinking im going to stop with them now, and begin gathering notes for my film essay which must be 1500 words, then a power nap, then back to the mini essays, then finish with some more film
An actor’s voice is as important as an actor’s body. As Barranger puts it, “The voice is our means of communicating to others, presenting ourselves, expressing our personality, thoughts, and feelings.” There is a need for us to speak and communicate. For actors that need is rooted in conveying a story, and defining a character.
The hard part of conveying character through voice is the practicality of theatre, as Cohen puts it “You must live the life of your character, but also be heard in the back row.” Actors must be able to whisper so that it sounds like a whisper but is also able to be heard by the audience. Volume is only part of the challenge, because even if you’re heard, you still have to create that believable connection between you’re character and the audience because “Unlike the singer whose ‘sound’ is the message, the actor’s voice is an extension of a person” says Barranger. The accent must be correct, If an actor is suppose to be Italian, but he sounds like Michael Caine, the audience wont believe him. If you’re actor is suppose to be energetic and bouncing around, but the voice sounds depressed, then the audience wont connect with the character.
Barranger describes modern voice training as “Open[ing] up the possibilities of the voice-its energy, its instinctive responses to what the actor has to say.” The point of voice training is to open up the different kinds of characters for the actor to choose from. It is important that the actor learn to combine both physical body movement, and voice to accurately portray the emotions and complexities involved the the character.
An actor’s voice is a tool of communication, just like the actor’s body. Different tones can denote different emotions, and or meanings to the speech. When combined with the body, the actor now has two effective tools, from which he can communicate a character with depth, and complexity.
BACK ATTACK!!!!
Back from breakfast, which starts at 8 not 7, silly rabbit.
i shall continue on and write two more essays then i need to go to class, but ill probably keep writing there too
i shall continue on and write two more essays then i need to go to class, but ill probably keep writing there too
Wednesday, 1 December 2010
Sry About the Wait
SOOOOOOOO hungry, seriusly It is now 7:00am I need food. I'll finish the next essay after breakfast, or as i call it now BRAKE-FAST...........wow my jokes are suffereing from sleep depravation.
Body Language
YAY!!!!!!!!!!! NUMER 4 IS DONE!!!! ONLY SIX MORE!!!!
Barranger says, “The actor’s tools are the body, voice, impulses, emotions, concentration, imagination, and intellect.” At the presentation on Monday I learned how body could communicate all of these ideas. Body, as I learned is a way to express emotions without relying on the text. To draw back to my last discussion, it is a way to manipulate “style”.
A body’s stance can speak volumes about a character, and change how the audience views them. To draw an example from Marry Wives of Windsor: at the end of the play Falstaff is being poked, and burned with embers. Because of the happy dancing of the “spirits” and the overly childish cowering of Falstaff, in short how they moved their body, what would have normally been a seen of abuse and pain and fear, turns into a fun practical joke. With the use of body, actors can perform a more complex style, which gives the audience a deeper view of the actor’s character.
During the presentation, several different exercises were used to exemplify the many uses of body. The most prominent to me was an exercise of communication through body. Paired into partners, each group of two had to convey movement while touching. This exercise not only uses body to communicate to a perspective audience, but also communicate to your partner. Without talking my partner and I attempted to use each other as balance, to achieve more difficult positions; while communicating what we were doing, not only to each other, but the people around us.
As a class we also participated in exercise in which we mimicked words with our body. At first we were given words as a class; the group leader would shout out something like “hurricane”, and we would act with our bodies in whichever way we thought best communicated “hurricane”. I found this part of the exercise to be a challenge for my imagination. A simple way to convey hurricane, would be to simply spin, but does that convey a hurricane, or somebody spinning. I still to this day can’t figure a way to move my body to communicate hurricane.
To help with increasing the ability to communicate with the body Barranger suggests to put the emphasis “on developing the actor’s body as a more open, responsive, physical instrument by first eliminating unnecessary tensions and mannerisms” essential, before you begin to act with your body gain a neutral stance. Loosen muscles and stand straight. From the neutral position, an actor can learn the physical gestures, and movements of their character.
Body is important because of the way it communicates feelings, thoughts and emotions without reaching for the text. An actor skilled in body language can give depth to their character, and add complexity to the “style” in which that character is portrayed. The deeper and more complex a character, the more engaged an audience becomes, and the stronger the connection between the audience and the actors.
Barranger says, “The actor’s tools are the body, voice, impulses, emotions, concentration, imagination, and intellect.” At the presentation on Monday I learned how body could communicate all of these ideas. Body, as I learned is a way to express emotions without relying on the text. To draw back to my last discussion, it is a way to manipulate “style”.
A body’s stance can speak volumes about a character, and change how the audience views them. To draw an example from Marry Wives of Windsor: at the end of the play Falstaff is being poked, and burned with embers. Because of the happy dancing of the “spirits” and the overly childish cowering of Falstaff, in short how they moved their body, what would have normally been a seen of abuse and pain and fear, turns into a fun practical joke. With the use of body, actors can perform a more complex style, which gives the audience a deeper view of the actor’s character.
During the presentation, several different exercises were used to exemplify the many uses of body. The most prominent to me was an exercise of communication through body. Paired into partners, each group of two had to convey movement while touching. This exercise not only uses body to communicate to a perspective audience, but also communicate to your partner. Without talking my partner and I attempted to use each other as balance, to achieve more difficult positions; while communicating what we were doing, not only to each other, but the people around us.
As a class we also participated in exercise in which we mimicked words with our body. At first we were given words as a class; the group leader would shout out something like “hurricane”, and we would act with our bodies in whichever way we thought best communicated “hurricane”. I found this part of the exercise to be a challenge for my imagination. A simple way to convey hurricane, would be to simply spin, but does that convey a hurricane, or somebody spinning. I still to this day can’t figure a way to move my body to communicate hurricane.
To help with increasing the ability to communicate with the body Barranger suggests to put the emphasis “on developing the actor’s body as a more open, responsive, physical instrument by first eliminating unnecessary tensions and mannerisms” essential, before you begin to act with your body gain a neutral stance. Loosen muscles and stand straight. From the neutral position, an actor can learn the physical gestures, and movements of their character.
Body is important because of the way it communicates feelings, thoughts and emotions without reaching for the text. An actor skilled in body language can give depth to their character, and add complexity to the “style” in which that character is portrayed. The deeper and more complex a character, the more engaged an audience becomes, and the stronger the connection between the audience and the actors.
BRAKE 1!!!!!!
BRAKE TIME!!!!!!!!!
this is the first break to make tea I will continue writing in a few minutes
ALSO I'd like to give a shout-out to The AKH for being the FIRST follower of my blog!!!
If you guys like my stuff hit the FOLLOWER button on the top right, it's pretty much where all the cool people hangout.
JOIN NOW AND GET A BONUS GIFT OF MY CONSTANT BLAGING ABSOLUTELY FREE!!!!!!!!!!
this is the first break to make tea I will continue writing in a few minutes
ALSO I'd like to give a shout-out to The AKH for being the FIRST follower of my blog!!!
If you guys like my stuff hit the FOLLOWER button on the top right, it's pretty much where all the cool people hangout.
JOIN NOW AND GET A BONUS GIFT OF MY CONSTANT BLAGING ABSOLUTELY FREE!!!!!!!!!!
Characters and Styles
WOOT!!!! ANOTHER DRAMA MINI ESSAY DONE!!!!!!
The Merry Wives of Windsor
Seeing the replica of the Globe Theatre, and experiencing the thrill of a Shakespearian play performed with wit, incredible delivery, and literally thrust into the audience, is an experience that I will never forget. Something to not about a modern production of a Shakespearian play is that it’s success, like every play, is determined by it’s ability to connect with an audience; Shakespeare has a much harder time then most, because it is written in a dialect that is several centuries old, with characters from the Victorian era. The fate of The Merry Wives of Windsor depended on creating a connection between a modern audience and Victorian characters.
Barranger describes the use of both visual and aural delivery as a “language” used by the theatrical production. The job of the actors in Merry Wives is to translate the Shakespearian text into the language of theatre, which according to Barranger is composed of “words, sound, light, shape, movement, silence, activity, inactivity, gesture, color, music, song, objects, costumes, props, and visual images.”
Perhaps the reason why Shakespeare’s works have stood the test of time is their ability to speak directly to the things that make us human, the things that stay with us; giving him the ability to connect to an audience that would seem alien to his time. But how do actors convey his words to suit the times?
The theatrical language is built to convey ideas that are so complex that they stimulate our emotions as well as our thoughts, and to convey those messages effectively, so the production can connect with the audience. From the perspective of an actor, this means stepping into not just a character, but into a whole environment, or “style”, as its described by Robert Cohen, author of Acting Power. Cohen describes the act of “playing a style” as an add-on to creating a character. To explain Cohen uses the example of an American tourist in Paris ordering a beer in French. The character of the American has not changed, but his method of interaction has. So too in Shakespeare actors must step into the role of the character, but change the style in which the character interacts to connect with the audience.
A good example of all of this from the production of The Merry Wives of Windsor, that we saw, comes from the actor playing Ford. In the playbill he sights John Cleese’s Mr. Fawlty as his inspiration for the style of play that he presented. Ford is still Ford from the Victorian era, he still speaks Shakespeare’s words, but he does so in a style similar to Faulty Towers.
There is a difference between character and the style in which that character interacts. With the changing language, and ideology of the audience, theatre changes it’s style of presentation to that audience. It once again comes down to creating that connection between actors and audience.
The Merry Wives of Windsor
Seeing the replica of the Globe Theatre, and experiencing the thrill of a Shakespearian play performed with wit, incredible delivery, and literally thrust into the audience, is an experience that I will never forget. Something to not about a modern production of a Shakespearian play is that it’s success, like every play, is determined by it’s ability to connect with an audience; Shakespeare has a much harder time then most, because it is written in a dialect that is several centuries old, with characters from the Victorian era. The fate of The Merry Wives of Windsor depended on creating a connection between a modern audience and Victorian characters.
Barranger describes the use of both visual and aural delivery as a “language” used by the theatrical production. The job of the actors in Merry Wives is to translate the Shakespearian text into the language of theatre, which according to Barranger is composed of “words, sound, light, shape, movement, silence, activity, inactivity, gesture, color, music, song, objects, costumes, props, and visual images.”
Perhaps the reason why Shakespeare’s works have stood the test of time is their ability to speak directly to the things that make us human, the things that stay with us; giving him the ability to connect to an audience that would seem alien to his time. But how do actors convey his words to suit the times?
The theatrical language is built to convey ideas that are so complex that they stimulate our emotions as well as our thoughts, and to convey those messages effectively, so the production can connect with the audience. From the perspective of an actor, this means stepping into not just a character, but into a whole environment, or “style”, as its described by Robert Cohen, author of Acting Power. Cohen describes the act of “playing a style” as an add-on to creating a character. To explain Cohen uses the example of an American tourist in Paris ordering a beer in French. The character of the American has not changed, but his method of interaction has. So too in Shakespeare actors must step into the role of the character, but change the style in which the character interacts to connect with the audience.
A good example of all of this from the production of The Merry Wives of Windsor, that we saw, comes from the actor playing Ford. In the playbill he sights John Cleese’s Mr. Fawlty as his inspiration for the style of play that he presented. Ford is still Ford from the Victorian era, he still speaks Shakespeare’s words, but he does so in a style similar to Faulty Towers.
There is a difference between character and the style in which that character interacts. With the changing language, and ideology of the audience, theatre changes it’s style of presentation to that audience. It once again comes down to creating that connection between actors and audience.
The Stage is a Spoon
FIRST MINI ESSAY DONE 9 TO GO!!!!!!!!!!! (feel free to edit)
During the Victorian era it was a popular idea amongst playwrights, such as Shakespeare, to us the stage as a mirror for the world. “like a mirror, [the stage] shows audiences both their good and bad qualities along with an accurate reflection of the times.”, Barranger’s eloquent sentence brings up a good point. The stage, used as a way to showcase humanity, with all its shine, and all its cracks. Nearly every good story showcases a part of the time they were written in, such as: Hamlet, Oedipus, Macbeth; even some modern stories such as Spamalot, Wicked, and Greece. Showcasing Humanity is an effective to create the connection between actors and audience.
Something that bothers me about the showcasing of Humanity in a performance is perception. When the audience is watching a performance, they see only the perception that the actors convey, and the actors only convey what the script says, with added direction of a director. So what is conveyed to the audience is not truly a mirror of reality in the sense of a straight bathroom mirror, but a mirror that closer resembles a fun house; having been warped to the perception of the play write, the warped by a director, then tweaked by the actors, and delivered to the audience.
“Our perception is our reality, but our reality may not be our perception”, a powerful quote delivered to me by my seventh grade Social Science teacher, Mr. Clark. I took that quote as a warning of caution, everything that is spoken, written, or performed came from someone’s perspective, and while we must live our lives believing that perspective to be real, we also must be open to different perspectives, so that we can become critical of our own. All of that is to say that when observing a production, it is best to watch out for things that you would consider falsehoods, and instead of throwing those ideas away, examine them. Barranger attempts to describe the changing of perspectives when he talks on the difference between the play Henrey V and the film Henrey V.
Barranger states that films are “cutting, editing, framing, and camera movement rearranged Shakespeare’s text while retaining the language pertinent to telling the story on film.” While “The theatrical dimension is concentrated in certain scenes of Henry V,”. Films are more concerned about fitting the whole story into roughly an hour and a half, where as theatre has the luxury of having all evening. Scenes that are drawn out in a theatre version are cut shorter for film; we lose the perspective of the original text.
The Victorian idea that the stage is a mirror for humanity is more or less true. To create the bond between actors and audience, some familiarity is required; a sense of reality is needed, whither that be environmental or ideological. But, because the play is written by one man, then twisted and turned by several others. The stage is a mirror, but it is not a large bathroom mirror that reflects with perfect light, it’s more like the back of a spoon, reflective, but flipped upside down, and bulged.
Something that bothers me about the showcasing of Humanity in a performance is perception. When the audience is watching a performance, they see only the perception that the actors convey, and the actors only convey what the script says, with added direction of a director. So what is conveyed to the audience is not truly a mirror of reality in the sense of a straight bathroom mirror, but a mirror that closer resembles a fun house; having been warped to the perception of the play write, the warped by a director, then tweaked by the actors, and delivered to the audience.
“Our perception is our reality, but our reality may not be our perception”, a powerful quote delivered to me by my seventh grade Social Science teacher, Mr. Clark. I took that quote as a warning of caution, everything that is spoken, written, or performed came from someone’s perspective, and while we must live our lives believing that perspective to be real, we also must be open to different perspectives, so that we can become critical of our own. All of that is to say that when observing a production, it is best to watch out for things that you would consider falsehoods, and instead of throwing those ideas away, examine them. Barranger attempts to describe the changing of perspectives when he talks on the difference between the play Henrey V and the film Henrey V.
Barranger states that films are “cutting, editing, framing, and camera movement rearranged Shakespeare’s text while retaining the language pertinent to telling the story on film.” While “The theatrical dimension is concentrated in certain scenes of Henry V,”. Films are more concerned about fitting the whole story into roughly an hour and a half, where as theatre has the luxury of having all evening. Scenes that are drawn out in a theatre version are cut shorter for film; we lose the perspective of the original text.
The Victorian idea that the stage is a mirror for humanity is more or less true. To create the bond between actors and audience, some familiarity is required; a sense of reality is needed, whither that be environmental or ideological. But, because the play is written by one man, then twisted and turned by several others. The stage is a mirror, but it is not a large bathroom mirror that reflects with perfect light, it’s more like the back of a spoon, reflective, but flipped upside down, and bulged.
THUS IT BEGINS!!!!!!!!!!!
I know I missed the last few days for posting, and that makes me sad :(
But I'm going to make up for it :)
I have decided to broadcast my first 24 HOUR ESSAY WRITING EXTRAVAGANZA!!!!!!!!!
thats right 24 hours straight ill be writing essays here is the sitch:
2 ESSAYS
BOTH OVER 1500 WORDS
24 HOURS TILL DUE DATE!!!!
Ill post every once and a while to give more details and beg for edit help.
READY..........GET SET................GO!!!!!!!!!!!
But I'm going to make up for it :)
I have decided to broadcast my first 24 HOUR ESSAY WRITING EXTRAVAGANZA!!!!!!!!!
thats right 24 hours straight ill be writing essays here is the sitch:
2 ESSAYS
BOTH OVER 1500 WORDS
24 HOURS TILL DUE DATE!!!!
Ill post every once and a while to give more details and beg for edit help.
READY..........GET SET................GO!!!!!!!!!!!
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