Stage Types Presentation

Definition:

The(PRACTICAL PERFORMING SPACE)  physical part of the space where the performance takes place

What things are important when choosing a performance space:

1. Natural vs technical light
2. Size of audience
3. Live sound technical sound
4. Acoustics of the space
5. Access to backstage

Stage Types:

Proscenium

• Defined by stage and audience
• Proscenium arch
• 4th wall
• Projected outwards
• Particular angle always
• They are viewing it
• Distinction and contrast between audience and actors
• Never quite involved
• Intimacy is moderate
• Wing space
• Curtains
• All lot of options for set design
• Backdrop (and back curtain)
• Audience positioned in front of the stage
• Limited view
• Size can be very large/ usually moderate to large

Thrust (Catwalk)

• Audience on three sides
• The stage thrusts itself in the audience
• One distinct  wall
• Increases intimacy
• You feel more involved
• Large limitations in terms of setting and props
• Like Illyria
• Can be small or large
• Can combine thrust and proscenium
• Limitations in terms of exits and entrances

Theatre in the round

• Large-scale picture but usually it is on a small scale
• Stage is centered and the audience is around the stage
• Extremely intimate
• You see everything that goes on on stage
• You see the reactions of everyone else on stage
• The audience members work as a guide for the emotions which build us up
• It is very engaging
• Limitations
• Lights from 360 degrees they do not cast a shadow
• Someone will always be looking at your back
• Setting
• Cannot have orchestra
• All are technical sound
• You can do whatever you want with the height of your stage
• Entrances and exits of the actors through the audience
• Something very intimate and very character based

Traverse

• A catwalk or runway
• Audience members on two opposing sides
• Good for entrances and exits of the characters
• Very powerful entrances and exits
• Or good for very aesthetic types of performances
• Bar splitting the stage into two
• Trainstation and audience very involved the train never came
• No backstage
• It is usually sth you would add to a stage

Arena

• They are about spectacles
• They are not intimate at all
• Grand and spectacular
• The excitement and extravagance of the performance
• Disney on ice
• Cirque du Soleil
• Tens of thousands
• Camera projection about details
• Not Intimate
• Largeness and spectacle nature of the performance
• No audience involvement
• Disconnection and spectacle
• Complete opposite from the theatre in the round

Black Box (Studio)

• Curtains all  around
• Full space of imagination
• Any type of stage
• Limitless in the options for a black box
• Usually, workshops take place in a black box

Platform

• Elevated platform where the performance takes place
• Very traveling
• Improv
• Daily traveling
• Very impromptu
• Unprofessional

Rake

• On an angle
• Shakespeare
• Visuals
• The whole performance can be seen
• It increases the visibility
• You can have that in a proscenium stage thrust and arena
• You can rake your audience

Hippodrome

• For horse races
• Big penis shaped
• Horse racing track
• You can still use it
• Small-scale them put them inside
• Horses come from one side
• Elongated semi-circle

Open Air

• Just outside
• uses the nature
• Uses sunsets and sunrises
• Instant form of setting
• Symbolic use of nature
• Impactful
• Theatre of cruelty in the open air
• Not very technical

Promenade

• To take a walk
• Walking theatre
• Kind of like a flash mob
• Audience member is walking and moving
• They are being immersed
• You are part of the show
• Extremely immerse
• A guide takes you through
• Example last year’s monologues
• Performances being repeated constantly and the audience going around
• Used intentionally
• Very immersive
• Lighting and sound limitations
• Intimacy and involvement is high

Site-specific

• You choose the location for its purpose
• Literally on a location
• Purposefully as part of your performance
• Example colonial house

TEAM in Romeo and Juliet

David Leveaux

Tension Emotion Atmosphere Meaning

1st Scene

T: Darkness and spotlight on him

A: Fire lines coming up

2nd scene:

Wall with graffiti and ropes

T: Pronunciation Exaggeration

A: Motorbike and sand

M: Gold chains

M: using the helmet kicking the helmet references to the helmet sitting on it

3rd scene:

E: tone of voice of the black man and pace changes depending on the weight of what he is saying

Transitions the two boys leading screaming and the girls coming in screaming. Once on leaves, one comes.

4th scene

M: Color of clothes; white of the dress innocence

M: us of objects to symbolize humans or show other meaning

5th scene

A: Changing of lights and colour of thee instead of the set design

M: Constant presence of bell even if not relevant to all scenes it is kept constant throughout

M: Use of the chair as an object representing a woman. It is turned around and used like the helmet and pillow.

Transitions: always sth happening on stage

6th scene

T&A: There are fireballs flying around stage the vertical column on fire to show how the spirit is alive in the fest

A: Lighting changes when the two Montagues walk in, The vertical column switches off and everyone has balloons that have a different light in them

Music intensifies gen they leave

*Sparkle Effect*

Bell is swinging as if time is passing but slower as also seen by the music and the movement of other

M: Wall is flown separating the two. It is also black indicating the hatred that is keeping them apart

There are faces on the walls

M: On the wall, there is a detailed pattern of a tree but also graffiti on top- modernized -contrast between Capulets and Montegeurs

A: Marriage scene has the horizontal flames with epiphany music.

Collaborative Project Random Notes

Zachary’s Feedback on Workshop Description

 

• Explain and go in detail

 

 

 

• Explain the process and sequence why meaning explain go in detail

 

 

 

• Outcome

 

Why you will use it and why not?

 

Explain those steps

 

Way to use or part of their process in the theatre process

Zachary’s thoughts on Talkback Session

 

Type of Feedback you want

Measure if you have achieved the intended outcome

What is my impact and what information do I need to determine if this impact was met.

Feelings thoughts

 

Form a physical position with your body

Hang two blank sheets of paper on the wall

Quotes and use the results of your talk back to evaluate your performance and you can also use statistics.

Consider the audience and your play

Diagrams and tables: Highlight certain words

Evaluate everything as a whole and your contribution

Research Presentation Class Feedback

A1- Cultural/ Historical/ Theoretical

A2- Your Convention ——–> TEAM

B1- Practical Exploration

B2- Moment

C1- Performance of MOT

C2- _

D1- Impact as a learner

• Link to previous work
• Practical Things you learned
• Theoretical things you learned

D2- ONE of your RP (Convention) to ONE in Kunqu

 

Introduction

Ladies and Gentlemen

Conclusion

NOT And that was it

Moment

NOT That was my moment

Research Presentation

First Page

Second Page

Amongst other academic stress and obligations there lies the Research Presentation.

 

The presentation revolves around a theatre tradition that has not been studied before. The tradition that I chose to focus on is Ancient Greek Tragedy. No matter how challenging I have been told it is, my excitement and personal connection with the tradition will not allow me to give it up.

Ancient Greek Tragedy has been something I have been studying for years while only focusing on the plays’ text, theatre structure and play writers. I would like to use this opportunity to delve deeper into the performance aspect of the tradition.

This is extremely short as my excitement and stress are not allowing me to explore this deeper. Don’t worry there will be more after the presentation reflecting on the whole experience.

Love,
Konstantina

A Year Has Passed

The first year of DP Theatre has officially come to an end. 

It has been a year filled with discoveries, disappointments, developments, downfalls, breakdowns and fearless step ups. This year has taught me a lot; not only when it comes to Theatre but also life and academics particularly.

This years’ experiences have shaped me as a person affecting my life choices. The lessons this year has taught me will follow me for the rest of my life hopefully and will contribute to me growing as a person.

In the theatre world, in particular, I have learnt a lot. From costume choices to acting, I have grown tremendously. I have been taught invaluable lessons when it comes to describing those. I have come to grow as an English speaker with confidence and surety.

And since in order to make the net year the absolute best, I shall write down areas to focus when beating the improvement. Here is what will guide me in a few months when I will be dealing with the four official assessments.

And yes all the lessons are in order of importance.

Lesson No 1:
Know what the IB expects from you! Know the exact assessment criteria and what you are being assessed on. Refer to them before and after every assignment.

Lesson No 2:
In the IB you should emphasize more (spend more time) on the writing of the processes you followed and less on the processes themselves. For you, I would suggest to keep the same time for the processes and just increase (double) the writing.

Lesson No 3:
When acting do not hurt yourself. It is important to always be safe within what you do and hurting yourself does not mean you’re great just stupid and maybe a little dedicated. If you want to spice up your performance skills:

• Surround yourself with great performers who inspire you and show you the right direction.
• Be in full of control of your body; at the end of the day, theatre is all about body face and voice being in harmony. You need all 3.
• Lastly, to make the performance less interesting remember to read between the lines and always make your expressions as diverse as possible.

Lesson No 4:
Your Journal right here is your best friend. Write as often as possible you will not regret it. Everyday!

Oh and most importantly enjoy every single part of it. Not only it will make you happier but it will also show on your work 😉

 

Lighting in Theatre

Realism:

Using artificial elements to create something realistic

Naturalism:

More holistic research
Using natural elements

REALISM:

• Mc Candles
  • 45 degrees
  • more realistic

• Side Lighting

COLORS:

 

PIGMENT:

• Skin Colors
• Different Colors
• Clothing

 

R; Devising Theatre Company

Today I finalised the Devising Theatre Company Written Assignment on the Theatre Company Gecko. Even though I had already completed a first draft and thorough research on what was essential to describe the company and its processes, I wanted to find more. This time I let myself get carried away with research not looking for something specific, while also noting down relevant information and facts.

This way I got to truly understand the company and their intentions. I felt like theatre is so much more than just a subject. One should never focus on just the grades but rather immerse into the world of theatre and explore as much as possible. After one has done that, only then it is possible to enact and perform theatre with the condition that you’re fully devoted to it; every aspect of you is present in the process without meaning that you overthink but rather that you concentrate.

I feel motivated to be in the world of theatre which is so much more than just being a good performer. I am now able to say that theatre is a holistic experience and involves lighting, movement, choreography, sound, etc.

Love,
Konstantina

Exposed to Theatre Outside of Class

This post is just going to be an update of what has been happening in my life lately. Don’t worry, just my theatre life.

So lately you may have noticed even though I still post somehow often, I do not reflect upon my theatre experiences that often. But I am here to make up for that and share with you, my experiences through this time.

So even though I have not been documenting everything I have tried to enrich my theatre-related actions as much as possible. From attending DP2 Solo Performances to helping organise Mama Mia the musical, I have witnessed enough material to enlighten my own individual journey.

I shall start with the

DP2 PERFORMANCES

which succeeded in changing my perspective. The once terrifying and intimidating act of creating your own performance from scratch now became for me a renowned and creative journey that can be made possible with effort and meraki.

Now getting into the details I would like to write down a few of my notes during their performances that I found interesting. It could be elements that impressed me, details that surprised me, or movements that I found puzzling.

In order to avoid personification, I will not be mentioning the performer’s names.

So the first performance I watched was a really symbolic piece that involved different characters and often changes of setting elements.

1. The movements being harmonic added fluidity in the performance piece,
2. while the facial expressions added clarity
3. Symbolism was profound throughout the performance, maybe to an extent that the meaning was too deep for the audience to identify
4. Different characters enriched the actions and added meaning, but in combination with the extensive symbolism, it resulted in confusion.
5. The emotion that was intended to be created on the audience failed as observed from the questions in the end. The audience deep into trying to understand the meaning was unable to be emotionally taken away with the Solo Performance.

• Shelves form restrictions possibly of society
• Books could represent knowledge

The second performance was performed to extenuate the effect of religious compression.

1. After a few minutes of technical difficulties, it was obvious that the performance was going to be using multimedia.
2. Once the projector and sound were ready the performance set off.
3. It all started with a really powerful detail. So after the really characteristical church music started playing the image of a cross appeared on the fabric besides. The powerful detail that I am about to share is about the placing of the projector and consequently the light. Not knowing whether it is indeed intentional or not I was impressed when the base of the cross originates from the performers back. This could have so many connotations such as that religion is based on humans, religion is a human invention and so on. Here is a drawing to demonstrate that:
4. The performance overall was extremely interesting which was intensified by the fact the performer developed a personal relationship with the audience by intending the monologue to them.
5. Lastly, the audibility levels were not always kept at a satisfactory point since there were moments in which the audience could not hear.
6. A detail that should be noticed is the choice to place flour on top of a box, so when the person kicked it there was dust everywhere nd the effect was intensified.

Now let’s move on to

MAMMA MIA

Mama Mia was the zenith of setting, design and lighting.
With the focus not being on creating a deep meaning but rather an entertaining atmosphere, different elements of singing, dancing and one-line jokes were incorporated. The costume designing managed to use a low budget and turn it into wonders by playing with light and neon lights.

Being an usher I had the privilege to watch the play thrice!

So the No 1. thing that I would take out from this experience would be how the performances and the entire show changed from night to night. In the first night where staff and workers compiled the audience the cast was nervous and appeared inexperienced in a way that they were exaggerating certain parts and pulling them off hilariously well but in other parts, the insecurity blended in and there were awkward moments.

It was not only for performers and cast members but also the light crew which had difficulties identifying the moments which required lighting and which person to light each time.

The next night everything run surprisingly smoothly. The performers got over their first-time anxiety and performed marvellously on the Greek style stage. They had the confidence and the skills to ensure that the microphones were on all the time and their performance was on point. The performance was impressive, to the extent that an audience member who had attended the Broadway production shared the surprising resemblance of the two.

The third night, I would say came out better than the first one but a little less energetic than the second one. Small mistakes due to coordination were replaced with mechanical synchronisation of all. The crew was though less energetic not putting 100% effort.

This is really interesting to observe because unless you’re an audience member for 3 consecutive nights you cannot point out.

It is definitely a lesson I will have in my head for future chances I get to make more than one-time performances.

But not to come off as rude or unappreciative, the overall musical was mouth-dropping with new elements of homosexuality that gave the play a newer feel.

These and more theatre chances have encouraged me to get back into the creative world of theatre with a new area and determination to perform and communicate meaning but also to dig deeper and unravel the magic of artists’ work.

Reading + Notetaking

Again, this is part of the self-guided assignment.

Nancy Pellegrini’s article lists 7 of the most significant Chinese Drama’s in history.

Thunderstorm by Lei Yu in 1933

Tragedy.
Respected family’s father has two children with his maid not knowing that one, the daughter, is now his servant while getting involved with her half-sibling. The ending is as tragic as the plot with madness and suicide ensue.
Critics point out the resemblance of the play to Ibsen’s Ghosts.

Sunrise by Ri Chu in 1936

Again, in the tragic spirit of Lei Yu, Ri Chu’s Sunrise captures “loose” characters being seduced by hedonism and easy money. It all ends when the main character, ex-prostitute/party girl, ends her life instead of redeeming herself.
It is more realistic than Thunderstorm.

 

In a Land of Silence/Silence by Yu Wusheng Qu in 1978

High-level cadre embraces capitalism before being prosecuted. The family’s attempts to hide him fail and pay dearly for its benevolence.
One of the first plays to deal openly with the Cultural Revolution.

 

Bus Stop/Station by Che Zhan in 1981

With hopes and dreams to get to the big city, eight characters are being passed by buses. Silent Man makes his way walking, but the others spend 10 years blaming society before they follow him to the town.
Waiting for Godot with Chinese characteristics, theatre of the absurd rejecting traditional conventions.

 

Absolute Signal by Juedui Xinhao in 1982

The protagonist taking part in a train robbery is conflicted when meeting former classmate, girlfriend and elderly master. The crime never comes off.
Black Box, Flashbacks, Popularity and Experimentation.

 

Wife Back from America by Meiguo Hui Laide Qizi in 1993

Urgency to go abroad is confronted. Returning wife realises the grown-apart with her husband.
Captures Societal Change in China. Consequence of political pressure.

Rhinoceros in Love by Lian Aide Xi Niu in 1999

A shy zookeeper appears obsessed with attractive woman. After she rebounds his clumsy advances, he kidnaps her to prove her wrong. The story that follows consists of symbolism, satire and darkness.
Music effects, radical plays in small venues can indeed attract investors.