The review follows five groovy gals as they come of age during those glorious days that made England swing. Traveling in time from 1960 to 1970, SHOUT! chronicles the dawning liberation of women, from the rise of Dusty Springfield, Petula Clark and Cilla Black as independent women with major careers, to their American counterparts, redefining themselves in the face of changing attitudes about gender. With a shimmy and shake, the songs are tied together by hilarious sound bites from the period – from '60s advertisements to letters answered by an advice columnist who thinks that every problem can be solved with a "fetching new hair style and a new shade of lipstick."
This module (THE3000) focused on a group performance, with each individual being assessed on their performance within a chosen role. The process of the module was firstly reading a selection of plays assigned by the module leader. Groups then formed, based on their interests, balance of skills and their willingness to work with a certain text. Once the groups became existent we re-read the text chosen and discussed our opinions on various issues relevant to contemporary theatre and the aesthetics surrounding the production of the text. As an ensemble we chose Christopher Durang’s play, Betty’s Summer Vacation, initially because we all enjoyed the humorous satirical elements of the play, however as our discussion progressed we started to discover and develop our ideas so as to give them more depth.
When pitching for Christopher Durang’s, Betty’s Summer Vacation we looked into the text in great detail and thought about way in which it could be staged, we considered the staging through a directors eye as well as a designer and actor. As an ensemble we thought this was necessary to do in order to gather all vital information needed for a successful proposal and pitch.
After successfully completing this, it was here where each individual was assigned a specific role or job. In a production meeting, we voiced our chosen roles and spoke of why we felt we could execute it well. My strongest role has always been visible through costume and working within a costume team.
AIMS OF MODULE
For this year’s production I chose to take on a bigger responsibility within the group rather than simply just performing. I felt it would offer a new challenge and give me a greater sense of confidence in understanding the importance of my job...
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...ob that involves pressure and a sense of responsibility. I have learnt the importance of working with other members of the team, as if this relationship between the two is bad, it could have a major impact on the developments of the play. I have also learnt to voice my opinions, and not be scared of it not being good or ‘useful’. If everyone felt like that no ideas would be formed so any idea can be modified or developed to create something successful.
WHAT I DID WELL
In regards to my aims, I certainly feel I did achieve my goal of coping with the demands and pressures of the job at hand. I feel I worked well with my fellow students, in assisting them if they needed help and also approaching the stage managers and cast to get feedback on my designs. I also feel I worked very strongly on a very small budget, at times having to create something from very little.
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to write one performance analysis paper.
1. To watch a live theater performance. There is a
special connection that develops between the actors and the audience during a live performance. This really only happens when the two groups are in the same space with their full attention on the performance. write it in enough details!!!!
2. Answering to the following questions:
What are the play and the production of that play attempting to do? (These are the intentions…)
Have the intentions been achieved? (Provide supporting evidence for your conclusions.)
the attempt worthwhile?
did you like and WHY? (OPINION)
did you NOT LIKE and WHY (OPINION)
To better answer the questions above, please see the “preparation” document I attached for being a reviewer/critic!!!!!!!