Job rolls mood board created on paint

MT History of Storytelling 25/9/12

History of storytelling  25/9/12

Story are told from Movies, books, music, news, media, religions, architecture and paintings. These days storys are everywhere aspecilly in reality programme (big brother, im a celbraty) and in audiction programme (X Factor, Britins got talent) it makes the audience care about the person if there past is told and it is intersting. These days you need a exciting past story to get viewers and fans for example 'The X Factor' everyone that goes on stage comes out with a sob story to get the audience to feel for them and to get the audience's vote (contribute a performance to thier nan or ill relitive, say thier ill or bring thier kids on stage est) things to make the audience to go soft, i think its bad and unappropreate how if you dont have a sob story you wont be liked or recnoized and some people come out with lies and it is basically to make the audience feel sorry for them.

 Britain's Olympic gold medal winning, Jessica Ennis, holds her MBE alongside her parents Alison and Vinny, once again the audience are thinking her parents must be so proud of her, i wonder what they do est.. and want to know more of her life story. Here is a quote from the telegram 'Jessica put her wedding on hold until after the 2012 Games in order to avoid "any distractions" to her Olympic training. Her boyfriend popped the question on Christmas Eve 2010'. Once again just to be liked for more fans.


 
Storytelling is ancient there is no set date from the first story told. Back in the day where there was no writing books or technolige, all man had was his memory, a good story teller was always respected, there is not respect for story telling now its turned fake and growing technoige has topped it on the entertaining side, entertainment started of with reading a good story book and now its tv, x box games, pc's est..

Family storytelling has changed maybe because of shame or not interresting another for modan life stylyed genirations, If we knew all good, all bad about our ancesters storys we may be disipointed or not excited but back in those days being a sewing technion or post man might of been exciting.

The history of storytelling reveals that the stories came in all variety. Myths, legands of all kinds, fairy tales, trickster stories, ghost tales, hero stories, epic adventures. These days our modern storys are about our days or an experiance no exciting adventures or hero's involved but there is more story telling now than there was in olden days, tiny stories we call 'tweets' and 'status' on our socail networks 'twiter' and 'facebook' est.. Social network has changed storytelling we exzaduate what we are doing and make it seem funny and exciting by puting things like 'lol' and 'hahaha', 'omg'. Even if you are not online people still know what you are doing though people taging you in status 'cheers for a good weekend at the....' and Tagged in photos, people always know your personal information even people you dont know (what your doing, where, who with, who you are), social network is not private, any one can know your story and pretain that they know you, social network is danagous, wheather your online or not storys are being created about you. When writing a tweet or status who are we actually writing it to? we are just creating a story of what we are doing to get 'likes' and comments.

 

musical theatre dance - week 1 Jazz dance

Jazz Dance = week one

This dance needed alot more comunacation, half the group did not know what was going on,

theatre rolls

found on 

http://www.maddermarket.co.uk/html/tostage.html

information sound on this web site about the different roles in theatre

http://www.aeaclubs.org/theater/roles.html

Musical Theatre Story telling 25/09/2012

Musical Theatre : Story Telling
25/09/2012

Our group: The fisherman and the Bottle
Abbi Powell and I

We used the 6 sense

• Taste- 'Bitter sea water splashed in face, in mouth'
• Touch- 'old man's ruff skin', 'Of heavy, rusty and wet bottle', Genie's 'raver sharp finger nails that would stab you in the eye' and the touch/ feeling of the bottle and other found objects 'muddy, dirty, rusty'.
• The Mood of the Genie 'out appeared a angry and scary looking genie', The mood of the old man after his bad day 'Ali the old man was having a bad day and was in the foulest mood, he felt so sad after losing his close friend that he decided to go fishing, fishing is what he did when he was in a bad mood', The mood of Ali the old man when he pulled and pulled and pulled his fishing line 'excitedly' to be 'disipointed' by a boot and an old dirty smelly cup'
• The sound of the genie when he came out of the bottle 'the genie roared out', when the bottle lid finally came off 'pop!' and the screeching noise coming from inside the bottle.
• The smell of the three things found in the Arabian sea 'The boot smelt horrird' and the 'furmilure smell of his town' on his way home.
•  The Sight of the lake 'afternoon time the water was dark and calm Arabian islands were in the distance, The sight of the bottle 'covered in red emeralds, rusty, Glinted in the light of the sun (wet)'. The sight of the genie when he appeared 'out of the bottle appeared a huge terrifying, scary, nails scarp as ravers, black long haired, angry looking Genie'.

WHY

• Adding the 6 sense's makes the performs more exciting, adding discrition creates a better picture of the story for the audience, using their amagnation.

Narratives (Storyline)

• We introduced the old man (Ali), what he looked like, his hobbies (fishing) his past (losing his wife) made him a sad lonely man who did care about his appearance, and that he was having a bad day, Abbi told why he was having a bad day (he had lost his last friend) and told that he was going to go fishing because he was upset, Ali (Me acting it out) paddled out to sea aggressively and stop, he got out his fishing stuff and sat thinking about his wife, He catches his first object leaning back and forth excitingly and being disappointed by discovering it was a boot, Ali throws it back in and throws the line back in, Ali catches his second object (I repeat the same motif) leaning back and forth excitingly and being disappointed again by a dirty cup, Ali throws it back and throws the line again Ali leans back and forth once more and catches this 'Glinting bottle, slightly dirty, heavy, wet, old, rushy' Ali opens it with difficultly we use sound for lip coming off 'pop!' out comes dust, mist and smock' causing Ali to sneeze and rub eyes' I take over the narrating whilst Abbi changes into a Genie, I describe the Genie. The Genie is upset by being stuck in the bottle of two thousand years and things that the Little old man diverse to be punished the old man Ali wind's up the Genie by calling him fake and making him prove that he is real by going back into the bottle and he does so, Ali gets back into his boat, puts the lid back onto the bottle and throws it back into the sea and goes home, his mood has changed to confused about what has just happened and his mind has been taken off of the lose of his friend and goes home just happy to be home and to have a cup of tea and a Arabian crumpets. I was sad when he lost his friend and you hear about his lose of his wife and him being alone. It was meant to be funny when Ali was fishing pulling on the fishing line and the little old man calling the Genie a fake.

Characters

• We portrayed our characters by acting out the movements and emotions of our character whilst the other actor narrated what we were doing, Abbi 'Ali aggressively paddled out to sea after a whilst he arms eaked so he stopped he got out his fishing line and throw it out and waited, and waited then suddenly he felt a tug' whilst I'm acting it out sat on edge of stage. Abbi acted out the Genie and she showed this by standing on stage overlooking me and by angrily bellowing out a speak on why the genie was so angry. I acted out the old man by struggling to get up from floor after kneeling to the Genie and by walking hunched back.

Delivery (Holl performance)

• The message at end was clear 'So if you're ever at the beach and you find a copper bottle' Abbi says 'be very careful opening it!' I say. It was not really a true learning story like (The boy who cried wolf, do not lye, and Goldy Locks and the three bears do not steal) messages.
• We needed to know our words abit better at times there was trampled words 'mmmm's' thinking of our lines est..

How

• go over performance more, or go over lines more maybe with eyes closed.

WHY

Not fully knowing your words in a performance wont make a professional performance, its un-realistic, it needs to be believable to the audience that the chractors are real.

• We need more characterisation

WHY

If you are acting and it does not sout your chractor it is un-realistic and boring for the audience.

How

• Vocable - characters voice instead of our own
• Body langague - add more space out

Overall

I think today we made an inprovment last assessment we didn't have characterisation, a build up storyline, or not all the senses, today we used all the senses (Taste, Touch/feeling, Mood, Sound, Smell and Sight) we had characterisation but needs more though body language and characters voices and we had a build up story line it was more exciting and successful then our last performance.

Compare

I think our group had a good performance today but always room for improvement, The second group babayager and the bonny legged witch was better by they knew the lines well and they projected their lines out to the audience their talking was clear and loud, they moved around allot more adding adventure but their story had adventure ours did really their performance had allot of other characters in it and the two actors performed it well just though the two of them, you knew who was who at all times, there was (Eva the main little girl, the evil step mother, the dad who was away and comes back at the end, the bird that helps Eva on her journey, the skinny witch, the pale faced maid, who was slave to the witch but helps Eva to escape, and the cat who is owed by the witch but helps Eva to escape.


Today we did get too see all the performance so need to compare when see them.

set design ideas and lighting for mt snow queen

tree with neao bands ^^

tree created with ballons ^^^

into a world ^^


instead of flowers we could use snow flakes and flowers for the garden



sticks in cone stape with fairy lights wrapped round

 lighting aqua blue
 <-- in different blues

swing dance history

Swing dance history

The history of swing dates back to the 1920's, where the black community, while dancing to contemporary Jazz music, discovered the Charleston and the Lindy Hop.

On March 26, 1926, the Savoy Ballroom opened its doors in New York. The Savoy was an immediate success with its block-long dance floor and a raised double bandstand. Nightly dancing attracted most of the best dancers in the New York area. Stimulated by the presence of great dancers and the best black bands, music at the Savoy was largely Swinging Jazz.

One evening in 1927, following Lindbergh's flight to Paris, a local dance named "Shorty George" Snowden was watching some of the dancing couples. A newspaper reporter asked him what dance they were doing, and it just so happened that there was a newspaper with an article about Lindbergh's flight sitting on the bench next to them. The title of the article read, "Lindy Hops The Atlantic," and George just sort of read that and said, "Lindy Hop" and the name stuck.

In the mid 1930's, a bouncy six beat variant was named the Jitterbug by the band leader Cab Calloway when he introduced a tune in 1934 entitled "Jitterbug".

With the discovery of the Lindy Hop and the Jitterbug, the communities began dancing to the contemporary Jazz and Swing music as it was evolving at the time, with Benny Goodman leading the action. Dancers soon incorporated tap and jazz steps into their dancing.

In the mid 1930's, Herbert White, head bouncer in the New York City Savoy Ballroom, formed a Lindy Hop dance troupe called Whitey's Lindy Hoppers. One of the most important members of Whitey's Lindy Hoppers was Frankie Manning. The "Hoppers" were showcased in the following films: "A Day at the Races" (1937), "Hellzapoppin" (1941), "Sugar Hill Masquerade" (1942), and "Killer Diller" (1948).

In 1938, the Harvest Moon Ball included Lindy Hop and Jitterbug competition for the first time. It was captured on film and presented for everyone to see in the Paramount, Pathe, and Universal movie newsreels between 1938 and 1951.

In early 1938, Dean Collins arrived in Hollywood. He learned to dance the Lindy Hop, Jitterbug, Lindy and Swing in New York City and spent a lot of time in Harlem and the Savoy Ballroom. Between 1941 and 1960, Collins danced in, or helped choreograph over 100 movies which provided at least a 30 second clip of some of the best California white dancers performing Lindy Hop, Jitterbug, Lindy and Swing.

In the late 1930's and through the 1940's, the terms Lindy Hop, Jitterbug, Lindy, and Swing were used interchangeably by the news media to describe the same style of dancing taking place on the streets, in the night clubs, in contests, and in the movies.

By the end of 1936, the Lindy was sweeping the United States. As might be expected, the first reaction of most dancing teachers to the Lindy was a chilly negative. In 1936 Philip Nutl, president of the American Society of Teachers of Dancing, expressed the opinion that swing would not last beyond the winter. In 1938 Donald Grant, president of the Dance Teachers' Business Association, said that swing music "is a degenerated form of jazz, whose devotees are the unfortunate victims of economic instability." In 1942 members of the New York Society of Teachers of Dancing were told that the jitterbug (a direct descendent of the Lindy Hop), could no longer be ignored. Its "cavortings" could be refined to suit a crowded dance floor.

The dance schools such as The New York Society of Teachers and Arthur Murray, did not formally begin documenting or teaching the Lindy Hop, Jitterbug, Lindy, and Swing until the early 1940's. The ballroom dance community was more interested in teaching the foreign dances such as the Argentine Tango, Spanish Paso Doblé, Brazilian Samba, Puerto Rican Merengue, Cuban Mambo and Cha Cha, English Quickstep, Austrian Waltz, with an occasional American Fox-trot and Peabody.

In the early 1940's the Arthur Murray studios looked at what was being done on the dance floors in each city and directed their teachers to teach what was being danced in their respective cities. As a result, the Arthur Murray Studios taught different styles of undocumented Swing in each city.

In the early 1940's, Lauré Haile, as a swing dancer and competitor, documented what she saw being danced by the white community. At that time, Dean Collins was leading the action with Lenny Smith and Lou Southern in the night clubs and competitions in Southern California. Lauré Haile gave it the name of "Western Swing". She began teaching for Arthur Murray in 1945. Dean Collins taught Arthur Murray teachers in Hollywood and San Francisco in the late 1940's and early 1950's.

After the late 1940's, the soldiers and sailors returned from overseas and continued to dance in and around their military bases. Jitterbug was danced to Country-Western music in Country Western bars, and popularized in the 1980's.

As the music changed between the 1920's and 1990's, (Jazz, Swing, Bop, Rock 'n' Roll, Rhythm & Blues, Disco, Country), the Lindy Hop, Jitterbug, Lindy, and Swing evolved across the U.S. with many regional styles. The late 1940's brought forth many dances that evolved from Rhythm & Blues music: the Houston Push and Dallas whip (Texas), the Imperial Swing (St. Louis), the D.C. Hand Dancing (Washington), and the Carolina Shag (Carolinas and Norfolk) were just a few.

In 1951 Lauré Haile first published her dance notes as a syllabus, which included Western Swing for the Santa Monica Arthur Murray Dance Studio. In the 50's she presented her syllabus in workshops across the U.S. for the Arthur Murray Studios. The original Lauré Haile Arthur Murray Western Swing Syllabus has been taught by Arthur Murray studios with only minor revisions for the past 44 years.

From the mid 1940's to today, the Lindy Hop, Jitterbug, Lindy, and Swing, were stripped down and distilled by the ballroom dance studio teachers in order to adapt what they were teaching to the less nimble-footed general public who paid for dance lessons. As a result, the ballroom dance studios bred and developed a ballroom East Coast Swing and ballroom West Coast Swing.

In the late 1950's, television brought "American Bandstand", "The Buddy Dean Show" and other programs to the teenage audiences. The teenagers were rocking with Elvis Presley, Little Richard, and Chuck Berry leading the fray. In 1959, some of the California dance organizations, with Skippy Blair setting the pace, changed the name of Western Swing to West Coast Swing so it would not be confused with country and western dancing.

In the 1990's, dancers over 60 years of age still moving their Lindy Hoppin', Jitterbuggin', Swingin', and Shaggin' feet.

 

 

Swing Styles

 

Savoy Swing: a style of Swing popular in the New York Savoy Ballroom in the 30's and 40's originally danced to Swing music. The Savoy style of swing is a very fast, jumpy, casual-looking style of dancing

Lindy style is a smoother-looking dance.

West Coast Swing: a style of Swing emphasizing nimble feet popular in California night clubs in the 30's and 40's and voted the California State Dance in 1989.

Whip: a style of Swing popular in Houston, Texas, emphasizing moves spinning the follower between dance positions with a wave rhythm break.

Push: a style of swing popular in Dallas, Texas, emphasizing moves spinning the follower between dance positions with a rock rhythm break.

Supreme Swing: a style of Swing popular in Tulsa, Oklahoma.

Imperial Swing: a style of Swing popular in St. Louis, Missouri.

Carolina Shag: a style of Swing popular in the Carolinas emphasizing the leader's nimble feet.

DC Hand Dancing: a Washington, DC synthesis of Lindy and Swing.

East Coast Swing: a 6 count style of Lindy popular in the ballroom dance school organizations.

Ballroom West Coast Swing: a style of swing popular in the ballroom dance school organizations and different from the style performed in the California night clubs and Swing dance clubs.

Country-Western Swing: a style of Jitterbug popularized during the 1980's and danced to Country and Western music.

Cajun Swing: a Louisiana Bayou style of Lindy danced to Cajun music.

Pony Swing: a Country Western style of Cajun Swing.

Jive: the International Style version of the dance is called Jive, and it is danced competitively in the US and all over the world

 

other chractors and set ideas

 gerda meets the swallows

snow queen and kai


gerda riding the raindeer

snowballs attack gerda



grandad and grandma telling a story
 kai being saved by gerda

gerda on search for kai

the goblin breck the glass

puppeteers

gerda meets the dreaming princess

gerda brecks the snow queens spell

set ideas

Gerda costume ideas

 gerda with raindear

old fashioned clothing

farm type look

pointed hat

gerda with Bhima

 
pig tails, draggs


drawing of Gerda in her costume
dolly shoes
tights
long dress with under dress
puffed sleeves

heavenly garden

Musical Theatre 18/9/12 story telling childrens performances

Musical theatre  18/09/2012

Detail

Our Group: The boy who cried wolf

We used some of the 6 senses

• The mood 'content village', 'frendly everyone knew everyone', sudden shock, scared when the wolf came
• The feeling of the sheep 'wooly,  fluffy sheep'
• The smell of the village 'smell of warm apple crumble and bread being made from the local bakery', and 'the smell of blood from the slotted sheep'
• The sight of the village 'small buildings, small town' pathway 'trees over inverted the pathway, The pathway was muddy foot printed from horses and animals and people' the path lead to the fields 'the fields had trees that sheltered some land'.

WHY

Adding the 6 sense's makes the performs more exciting, adding discrition creates a better picture of the story for the audience, using their amagnation

Group two: Goldy locks

• They described the taste of the porridge, 'warm, hot, too sweet, too bitter, just right'
• The noise of the 'creaking staris' to the bedroom.
• The mood of the bears and Goldy locks when the three bears came home, Little bear crying 'weeping into his parms', the adult bears where unhappy with Goldy locks they were 'anrgy', when Goldy locks woke up she was scared and shocked to see the three bears standing there.
• They describe the house and different rooms 'the house had a lovely front garden that was covered in different coloured flowers' the gate door was 'wooden blue'.

Group Three: Little red riding hood

• They described the smell of cup cakes being cooked at the beginning 'the smell of warm cooking cookies awoken Little red riding hoods mother'
• They described the sight of the woods 'surrounding trees, pathway' and Granny's house 'old cottage, granny did not own allot of possessions, her house was very empty because she sold all her stuff for crack' 
• They described the mood of Goldy locks after she took her drugs 'funny, aloanating, spaced out' before she fell on the ground. 

Narratives (storyline)

Our Group: The boy who cried wolf

• We described the atmosphere, we created a picture of the village the farmers house the pathway to the fields and the fields before starting our story telling.

WHY

To create a image of the surroundings for the audience to see in their head.

Group Two: Goldy locks

• They told their story and described it on the way, Goldy lock's Journey though the woods finding the attractive house, they described from room to room each actor told a room each and the stair way to the bedrooms where Goldy lock tries out the beds.

Group Three: Little red riding hood

• It Started with a history telling of the night before, little red riding hood's mum's night out drinking and doing any drugs.
• They tell the journey from leaving the house to meeting the wolf and rabbit on the way and then entering the Granny's house.
• It was comical, adult humour, not really for kids.

Characters

Our Group: The boy who cried wolf

• We did not portray our characters apart from when the boy cried wolf, i called 'woof!' and the two other actors (Abi and Polly) moved towards me to show that villages came to the boy when he called wolf, and then they moved back to their places, the last time the boy cried woof and the village's did not come when there was actually a really wolf, the other actors turned on the spot, crossed armed and turnt back to show that the villagers did not come that time.

WHY

To add movement to our performance, it was pritty stand still talking, Abi and Polly coming over to me when i called wolf showed who they were showed chractorisation.

Group Two: Goldy locks

• One actor in this group showed character, as wel as telling the story and the other actors just told the story. There was no voice and body language changes.  

Group Three: Little red riding hood

• Each actor in this group had a character and they showed it well though their voices and body language changes and they told their own story bits in their character. Their was Little red ridding hood, but in this group they called her 'red hood'. red hood was portrayed as a teenager that did allot of drugs from early age, layed back, chilled. Little red riding hoods mother 'layed back mum, also did drugs, drunk allot, out allot, scruffy', The wolf was a 'posh wolf, pocket watch posh clothing, angry problems needed to take revenge on red hood for accidentally spreading her feces on him, he was high mentanas', the granny was dead in the back yard but due to red hoods drug taking she thinks the wolf is granny, she See's 'littlie old lady, curved back, need of walking stick', The rabbit was not shown much but he was 'happy, excitable, friendly'

Delivery (holl performance)

Our Group: The boy who cried wolf

• The message of do not lye was clear to the audience
• We need to engage more with the audience

How

• We could get the audience to join in with the shouting of 'Wolf!'
• We could talk to them before telling the story like a panto 'Hello boys and girl', from us 'Hello' kids 'that was rubbish, i said Hello boys and girls!' from us, 'HELLO!' get them involved.

WHY

To make the performance more entertaining for children, children like to shout and get involved.

• we need to act it out next time

WHY

Not acting in a performance does not show chractor, not a professional performance.

 

How

• We need to create character, characters story, voices and body language, relative to the story.

• We need to use more of the 6 sense, prefabley all of the 6 sense

How

• smell
• touch
• hearing
• taste
• see
• mood

WHY

Adding all the 6 senes creates an imaginative picture of the story in the audiences mind, making it more exciting for them.

• we need to change the story line a little to make it more exciting like the other groups

WHY

A performance that is not intresting and boring is not worth watching, the audience will be bored.

How

• Think of ways together to make it more exciting for the kids 'panto like'.

Overall

• I think we need allot of work we need to change the storyline a bit, add characterisation, interacted with the audience, make it for children, make it fun and exciting. We need to use more of the 6 sense.

Group Two: Goldy locks

• The story line was clear 'Do not steal'.
• The description was strong that holl way though up to when the three bears came in, it built up so well to then and then the describion stoped, needs more describion at end when the bears come in.

How

• describe the mood of the bears how angry they are, the utter shock of Goldy locks when she awakes how scared she is
• The tension in the air between them
• The rush Goldy locks was in jumping out of bed and out the window.

WHY

To add up a build up towards the end, ending the story with excited audience, a build up that is dropped just before the ending is disipointing to the audience.

Overall

• It was good, it was well described it needs more description at the end.

Group Three: Little red riding hood

• The story telling was uneakwold, one actor did not get much say and others had allot, needs to be made eakwold.

How

• Create a story for the rabbit and make the rabbit more involved maybe the rabbit could go with red hood to Granny's house for maybe red hood helped the rabbit out a trap, maybe after red hood upsets the wolf she helps the rabbit out a trap and tells her the wolf did it to her, hes got serious revenge problems, so its like a warning to the audience to excited them whats going to happen next.

WHY

The audience no nothing about the rabbit, me as an audience wanted to know more about this funny, bouney chractor.

Overall

• It was entertaining because of the adult humour about the drugs, and the emo teenager being red hood we all know little red riding hood to be an Innocent little girl so they changed little red riding hood completely, the posh wolf was another thing that was unexpected, the granny already being dead was dark, it went with the holl emo teenager, druggie family theme.
• It was not something for children to watch tho, it needs changing abit to make it suitable for children.

How

• Cut out the drugs,drinking and the dead granny.
• I don't think children would understand the emo theme to the family (emo red hood, mother). 

WHY

Children are vunrobal, and can not be introducted to drink, drugs, vilonce and adult humor.

 

Compare

comparing the other two groups to others, we could learn from theirs to make our better. I think group three (Little red riding hood) was the best group because they made it humorous and fun, and all the actors had characterisation. Group two (Goldy locks) was the second better performance because used allot of the sense's they had allot of description within the performance built up the excitement for the audience but did not finish off as well as they started, it needs more description at the end and it needs characterisation. Our group has allot of work to do characterisation, more sense, excitement, involving the audience describing the surrounding as we tell the story.

frozen make up effect on video

royal ballet behind the scenes creating the snow queen dress on video

making a tutu on video

royal ballet costume video

set design video of nabucco making of the opera

snow queen costume ideas

fluff, seqents of snow flakes, beads

clear beads stictched on

speer with angel lights twisted round so speer has light

awsume crown whites blues snow flakes beads

attaching it on

heavy coated dress and hair peace

plastic type of matraial long sleeved

crown created using wire, head band and small beads

 

 heavy coat, speer

sequents, cross over bead strings

 

 crown, heavy dress, heavy fluffy coat

 

snow queen coat ribbon to tye across cheast fluff on outline coat draggs

 

 thin cheap fabric ends zig zaged for ice effect

snow flakes embrobaryed

SET : lab, projector of writing

 

feathers used as mask

furry hood long coat half white mask

 

amazing example of a easy to make snoq queen costume simply lit thin fabrics