This weekend I once again returned to exploring the play 'Cleansed' by Sarah Kane with the wonderful Nina Kane. Don't want to write too much on here because it's going towards her PhD research and I fear rules of blabbing academic stuff.
But was absolutely great! Saturday reacquainted self with script, characters, movement and working with Nina and the Sunday created a full body mask, so intense and amazing, brilliant at allowing actor to be totally immersed in character, something I hope to explore in own work in near future!
I hope this is something that becomes more frequent in my acting career, making friends and returning to them every know and again to work and play. Speaking of which, Happy Storm Theatre got in touch, going to be helping out at a workshop with them in a high school soon :)
Sunday, 29 January 2012
Friday, 27 January 2012
Happy Storm Theatre, 'Crypt Project, New Depths'
Show was a sell out success with several 5 star reviews!(link to their website)
http://www.happystormtheatre.co.uk/#/the-crypt-projectnew-depths/4558214596
Was great performing with such a nice company, being part of a calm and in depth rehearsal process. Met some great actors and production people, lovely professional company.
A site specific piece, exploring addiction and harmful behaviours caused by negative events throughout life, the audience were led around the space of the Quays Theatre, peering into the lives of four main characters, as myself and the other three supporting actors added further intrigue and atmosphere to the space.
My role was a purely physical one, lots of research and contemplation over self harm and reasons for self harm stemming from childhood was undergone during the rehearsal process, when it came to the performance I was encouraged to perform in the style of my strongest ability, my physicality. 'Anxiety' was the key word I used as stimulus for my movement, as I fidgeted and pushed against the tiny bathroom space I was trapped within. A space later occupied by the character I had taken inspiration from, hopefully my distressed movements had a lasting impression on the space and complimented the future scenes for the audience.
Friday, 16 December 2011
Happy Storm Theatre
I've been offered a role as supporting actor in The Crypt project, a Happy Storm Theatre production to be performed at the Lowry Theatre.
Very excited, hopefully I'll be involved with the production side as well. Be further experience to help with future job applications in the arts. The audition was lovely, led by the organisers of Happy Storm, they joined in themselves and created a great relaxed atmosphere that allowed us actors to perform at our best. Michelle Taylor who I acted with as a teenager at Kennedy's School of Performing arts also attended the audition, was great working with her again.
Very excited, hopefully I'll be involved with the production side as well. Be further experience to help with future job applications in the arts. The audition was lovely, led by the organisers of Happy Storm, they joined in themselves and created a great relaxed atmosphere that allowed us actors to perform at our best. Michelle Taylor who I acted with as a teenager at Kennedy's School of Performing arts also attended the audition, was great working with her again.
The Way of The Idiot: Told By An Idiot Creative Professional Development
15th of December
Took part in a workshop at Manchester's Royal Exchange Theatre led by Told by an Idiot Associate Stephen Harper, Haper's recent work includes War Horse and Theatre of Blood with the National Theatre and a long list of other highly respected works and companies.
The workshop explored several of the facets of Told by an Idiot's work, focusing in particular on devising and the importance of spontaneity. Harper demonstrated how they achieved this state through warm up games, improvisations and development of specific comedic vocabulary.
We began after name introductions with a physical action, with a game of name tag, having to shout another players name before being tug. When a player was tug they joined the wall of shame. The leader acting as protagonist, giving and taking lives as they saw fit, or just to provoke reactions from players.
Then 1,2,3 game, in pairs alternatively counting to three. Then developing this by replacing numbers with actions, such as clapping, jumping, touching others forehead.
Good old, Grand Mother's Footsteps. Normal version, then including clothes, then with a partner.
Impros in pairs, A giving suggestions and B replying with "Yes", then "No" and then "Yes" meaning no, and no but meaning "Yes" this was then taken further by walking the room and experimenting by saying this words with alternative meanings to others in the room. We found the "No" with the hidden Yes to be especially flirty and fun.
We then attempted Complicite within this group of strangers. We began a walk together as a group, into a stop together. Then a walk into a run as a group, back to a walk and a stop. There was lots of fidgeting before the onset of the walk, but I was surprised at the level of awareness of the group, though not that calm we were very responsive to one another.
Then improvised scenes with a partner, A playing a Dog and B its Owner. Firstly the dog was a good and well behaved dog. We found these impros easy and light hearted, some resented how easy it was to play the well behaved animal. The dog then became easily distracted and we found these imrpos were more fun than the previous as the dog had more freedom and the owner found themselves following the dog's impulses, playfully responding to dog's suggestions. The dog then became stupid and lazy, owners found a fondness for their dogs, as they gave so much positive energy and enjoyed any response back from their pet. And lastly the dog became a wolf, so much more fun to play, the dog could now have an array of emotions, play coy, aggressive or compliant and the owner was now nervous. Harper explained by making one partner an animal it suddenly brings out alot more physicality from the actors.
Clapping Impro game, same as played with Pedra of SpyMonkey Theatre, an actor or group of actors leave the space to play the game, the actors still in the room decide on actions the others must perform when back in the space. The players return and stand facing their audience, the audience only communicate with the players by clapping, when they perform close to the decided actions they are encouraged with clapping, when the action is performed correctly the audience explode into applause. Its a great game for stripping actors of over acting tendancies, its amazing how as soon as the actor stands in the performance space they are open to their audience, making them extremely responsive. This has to be one of my favourite theatre games.
Harper then led the group in physically exploring Comic Vocab developed by Told by an Idiot. We walked the space and every time he called 'Suspension', we raised ourselves in the air as we walked for a beat, with an inward sigh, like an infatuated cartoon character. Then Fix Point, a sudden stop, legs became planted into the ground, strong stance. Comic Stop, which involved a jolt of the body, as though one had just scene something shocking. A double take, looking from point A to B, then back to A then suddenly looking back to B with the body reacting with a shudder of shock, the longer the glance back to A or lingering glance at B the greater the comic reaction. And finally The Slight, approaching a partner only to avoid last moment as you realise they are not the person you thought they were.
It was an enjoyable workshop, many exercises that I have participated in before, but it was good to play them in a different group with slight variations, keeps them alive and awareness during them at a heightened level. I'm alot more comfortable joining new groups now, several years ago I would have been terribly nervous before such a workshop. I think approaching workshops more calmly now allows me to be more open and receptive. Hope I attend further workshops at the Royal Exchange or even maybe perform there one day!
Took part in a workshop at Manchester's Royal Exchange Theatre led by Told by an Idiot Associate Stephen Harper, Haper's recent work includes War Horse and Theatre of Blood with the National Theatre and a long list of other highly respected works and companies.
The workshop explored several of the facets of Told by an Idiot's work, focusing in particular on devising and the importance of spontaneity. Harper demonstrated how they achieved this state through warm up games, improvisations and development of specific comedic vocabulary.
We began after name introductions with a physical action, with a game of name tag, having to shout another players name before being tug. When a player was tug they joined the wall of shame. The leader acting as protagonist, giving and taking lives as they saw fit, or just to provoke reactions from players.
Then 1,2,3 game, in pairs alternatively counting to three. Then developing this by replacing numbers with actions, such as clapping, jumping, touching others forehead.
Good old, Grand Mother's Footsteps. Normal version, then including clothes, then with a partner.
Impros in pairs, A giving suggestions and B replying with "Yes", then "No" and then "Yes" meaning no, and no but meaning "Yes" this was then taken further by walking the room and experimenting by saying this words with alternative meanings to others in the room. We found the "No" with the hidden Yes to be especially flirty and fun.
We then attempted Complicite within this group of strangers. We began a walk together as a group, into a stop together. Then a walk into a run as a group, back to a walk and a stop. There was lots of fidgeting before the onset of the walk, but I was surprised at the level of awareness of the group, though not that calm we were very responsive to one another.
Then improvised scenes with a partner, A playing a Dog and B its Owner. Firstly the dog was a good and well behaved dog. We found these impros easy and light hearted, some resented how easy it was to play the well behaved animal. The dog then became easily distracted and we found these imrpos were more fun than the previous as the dog had more freedom and the owner found themselves following the dog's impulses, playfully responding to dog's suggestions. The dog then became stupid and lazy, owners found a fondness for their dogs, as they gave so much positive energy and enjoyed any response back from their pet. And lastly the dog became a wolf, so much more fun to play, the dog could now have an array of emotions, play coy, aggressive or compliant and the owner was now nervous. Harper explained by making one partner an animal it suddenly brings out alot more physicality from the actors.
Clapping Impro game, same as played with Pedra of SpyMonkey Theatre, an actor or group of actors leave the space to play the game, the actors still in the room decide on actions the others must perform when back in the space. The players return and stand facing their audience, the audience only communicate with the players by clapping, when they perform close to the decided actions they are encouraged with clapping, when the action is performed correctly the audience explode into applause. Its a great game for stripping actors of over acting tendancies, its amazing how as soon as the actor stands in the performance space they are open to their audience, making them extremely responsive. This has to be one of my favourite theatre games.
Harper then led the group in physically exploring Comic Vocab developed by Told by an Idiot. We walked the space and every time he called 'Suspension', we raised ourselves in the air as we walked for a beat, with an inward sigh, like an infatuated cartoon character. Then Fix Point, a sudden stop, legs became planted into the ground, strong stance. Comic Stop, which involved a jolt of the body, as though one had just scene something shocking. A double take, looking from point A to B, then back to A then suddenly looking back to B with the body reacting with a shudder of shock, the longer the glance back to A or lingering glance at B the greater the comic reaction. And finally The Slight, approaching a partner only to avoid last moment as you realise they are not the person you thought they were.
It was an enjoyable workshop, many exercises that I have participated in before, but it was good to play them in a different group with slight variations, keeps them alive and awareness during them at a heightened level. I'm alot more comfortable joining new groups now, several years ago I would have been terribly nervous before such a workshop. I think approaching workshops more calmly now allows me to be more open and receptive. Hope I attend further workshops at the Royal Exchange or even maybe perform there one day!
Sunday, 27 November 2011
Chaotic Combinations
Selection of photographs from the sketch performed by myself and actress Roxanne at the Chaotic Combinations writers competiton on the 17th of October.
Sunday, 20 November 2011
Interesting article from one of my fav directors
Impro - Improvisation and the Theatre
by Keith Johnstone© 2007
Chapter Two: Status
http://www.thestage.co.uk/connect/acblack/improkj.phpMakes me want to lead a session on status changing, asking the question 'Would one rather play? A higher or lower status?' Exploring the differences of higher to lower status change being either comic or tragic. Asking whether its possible to be of neutral status?
Friday, 18 November 2011
Thursday, 17 November 2011
Panto
Signed the contract and am currenlty learning the part of 'Understudy' for Eva Long's Production of Cinderella.
I have one day of rehearsal in December. Didn't think I'd get any role after the singing part of the audition, apparantly my voice wasn't too offensive for them.
Have also auditioned for some other smaller projects and films, and now in process of waiting to hear back from them.
(Post Panto Season)
Came to it I only had one day of performances! But that was a good long day! Driving all over Yorkshire to different care homes, when it came to picking up my fellow actor turned out to be a lovely guy I went to the same uni as, we had several friends in common and had a great day together performing and driving about. Got some great feedback from the director to my agent aswell,
Once again thank you for providing us with such a professional actress, I hope we can work with her again in the future!
I have one day of rehearsal in December. Didn't think I'd get any role after the singing part of the audition, apparantly my voice wasn't too offensive for them.
Have also auditioned for some other smaller projects and films, and now in process of waiting to hear back from them.
(Post Panto Season)
Came to it I only had one day of performances! But that was a good long day! Driving all over Yorkshire to different care homes, when it came to picking up my fellow actor turned out to be a lovely guy I went to the same uni as, we had several friends in common and had a great day together performing and driving about. Got some great feedback from the director to my agent aswell,
Just to let you know Kerry went on as the undertsudy today. She was wonderful, I could nto have asked for a better choice in understudy. Kerry's calm and professional nature were greatly appreciated today. I called her at 8.30am and by 12pm she was in Bridlington performing! So thrilled we had her on baord.
Once again thank you for providing us with such a professional actress, I hope we can work with her again in the future!
Sunday, 16 October 2011
16th October
Had an audition for a musical panto this week, though I really impressed judges with my acting, think it was probably my singing that let me down and also the amazing standard of the other candidates!
My agent requested I give another actor on her books a lift to the audition, turned out we had friends in common and similar interests in performance. Kinda making me think I want to get my own theatre projects going again. This time focus on working with people my own age or older. The amount of effort I've put into working with kids I want to push myself again, but be able to enter competitions and perform in venues this time.
My agent requested I give another actor on her books a lift to the audition, turned out we had friends in common and similar interests in performance. Kinda making me think I want to get my own theatre projects going again. This time focus on working with people my own age or older. The amount of effort I've put into working with kids I want to push myself again, but be able to enter competitions and perform in venues this time.
Monday, 10 October 2011
Chaotic Combinations
This weekend, the 8th and 9th of October, I took part in Organised Chaos' 'Chaotic Combinations' competition.
On arriving at Salford University we were split into groups, one writer and two actors. We were given stimulus points to work from, Long Lost, Family Celebration and A Special Event, the groups then dispersed into different studios to work.
In my group there was myself, Roxanne a drama student at Manchester University and Stephe a budding writer about to go and study for her MA in Creative Writting. We were drawn to the theme of Long Lost, which led to the idea of Long Lost information having an effect on a current friendship. It became a heavily devised piece.
The next day myself and Roxanne again met at Salford University and ran the scene several more times, attempting to make our acting style more dynamic and energetic in places to make the piece more entertaining.
We then went over to Kro Bar, to prepare for the competition, after a dress rehearsal and lunch, nerves started to mount. The other groups scripts were of a higher standard, which left me and Roxanne feeling slightly intimidated, the other actors spoke with their writers about character development and delivery, due to other comitmments Stephe couldn't be with us at the competition, more reason for myself and Roxanne to feel under prepaired.
The compeition was great, led by a professional comedian as compere he roused the audience and perpare them for the acts they were about to see. We acted our piece to the best of our ability and we had many comments from fellow actors and the writers that they enjoyed the concept of our piece and thought our acting was good. All in all it was a fun experience, it was great to see creative people working together in a fun light hearted compeititve manner, I'm looking forward to joining in similar events in the future.
On arriving at Salford University we were split into groups, one writer and two actors. We were given stimulus points to work from, Long Lost, Family Celebration and A Special Event, the groups then dispersed into different studios to work.
In my group there was myself, Roxanne a drama student at Manchester University and Stephe a budding writer about to go and study for her MA in Creative Writting. We were drawn to the theme of Long Lost, which led to the idea of Long Lost information having an effect on a current friendship. It became a heavily devised piece.
The next day myself and Roxanne again met at Salford University and ran the scene several more times, attempting to make our acting style more dynamic and energetic in places to make the piece more entertaining.
We then went over to Kro Bar, to prepare for the competition, after a dress rehearsal and lunch, nerves started to mount. The other groups scripts were of a higher standard, which left me and Roxanne feeling slightly intimidated, the other actors spoke with their writers about character development and delivery, due to other comitmments Stephe couldn't be with us at the competition, more reason for myself and Roxanne to feel under prepaired.
The compeition was great, led by a professional comedian as compere he roused the audience and perpare them for the acts they were about to see. We acted our piece to the best of our ability and we had many comments from fellow actors and the writers that they enjoyed the concept of our piece and thought our acting was good. All in all it was a fun experience, it was great to see creative people working together in a fun light hearted compeititve manner, I'm looking forward to joining in similar events in the future.
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