Miss
- Submitted by: Chrystel
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- Category: Other
- Date Submitted: 02/03/2016 01:26 AM
- Pages: 3
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How did you and your group explore the possibilities of form structure and performance style?
Within our performance we used a combination of performances styles to ensure our play would achieve its intentions. In order to create sympathy for the refugee characters we wanted it to seem realistic and be believable. Within the house setting we used a naturalist acting style derived from Stanislavski's- one of his famous quotes was‘remember: there are no small parts, only small actors’. We did this by portraying the refugees as desperate, fighting for their way out the house by any means possible for example when Alex pointed the gun towards me and said ‘I told you I was going to get out ‘this was effective because it showed the desperation of the refugees and how they were willing to kill people to gain their citizenship to remain in the country.
We created our performance firstly, in non-linear order, doing this by creating individuals scenes first. For example we worked on games that we would play before we showed the refugees journey inside the country. This was influenced by Brecht’s style as we wanted each scene to be able to stand alone and communicate a message for example highlighting the refugee crisis that are happening within society.
However, after preforming to a live audience we received feedback that the storyline was not clear as they did not understand that the trapped characters were refugees. Therefore we wrote a title for each scene and stuck them on the wall.
As a Group we then brainstormed what order the scenes should go in and what else we needed to add. This led us to introduce a flashback for each character…..for example my flashback was about how the Taliban prevented girls from going to school in Pakistan. My story was influenced by Malala Yousafzai, an activist for female education in the Swat Valley in Pakistan. The following morning we preformed to the same year group to see if the play made sense and if our aims were...
Within our performance we used a combination of performances styles to ensure our play would achieve its intentions. In order to create sympathy for the refugee characters we wanted it to seem realistic and be believable. Within the house setting we used a naturalist acting style derived from Stanislavski's- one of his famous quotes was‘remember: there are no small parts, only small actors’. We did this by portraying the refugees as desperate, fighting for their way out the house by any means possible for example when Alex pointed the gun towards me and said ‘I told you I was going to get out ‘this was effective because it showed the desperation of the refugees and how they were willing to kill people to gain their citizenship to remain in the country.
We created our performance firstly, in non-linear order, doing this by creating individuals scenes first. For example we worked on games that we would play before we showed the refugees journey inside the country. This was influenced by Brecht’s style as we wanted each scene to be able to stand alone and communicate a message for example highlighting the refugee crisis that are happening within society.
However, after preforming to a live audience we received feedback that the storyline was not clear as they did not understand that the trapped characters were refugees. Therefore we wrote a title for each scene and stuck them on the wall.
As a Group we then brainstormed what order the scenes should go in and what else we needed to add. This led us to introduce a flashback for each character…..for example my flashback was about how the Taliban prevented girls from going to school in Pakistan. My story was influenced by Malala Yousafzai, an activist for female education in the Swat Valley in Pakistan. The following morning we preformed to the same year group to see if the play made sense and if our aims were...