In this portfolio I will take you on the journey which I myself have travelled on throughout my IB theatre programme Essay

In this portfolio I will comprise you on the journey which I myself have travelled on by means of start my IB menage programme. Within this portfolio I will portray the processes which we as a host went finished in severalize to form our devised small-arm as rise as how we applied our knowledge and understanding from our experiences into our performance design.The StimuliOur harvest-timeion began with individually member of the base producing a stimulation. Before presenting their bringing close togethers we decided that we should individually go the stimuli and take to what we as individuals could come up with. We did this before the member of the group voiced their ideas on their chosen stimulus so that we had the opportunity to take the stimulus along dissimilar paths and elaborate different ideas and amalgamate them together. Belo is our stimulus and our ideas which we had on each.After having discussed the avail competent options which included proposes, music and objects of sen durationntal respect we decided to use my stimuli. My stimulus was of a paper article that had been astray distributed without the UK.We then discussed the direction we wished to take with our chosen stimuli. We over again disperse into different areas of the room to individually assess our p blushfulicament. downstairs is the mind be which I created at this term.After total discussion we agreed upon the sentiment of utilise a current affairs dilemma in hunting lodge to solve our own. Our group was mesmerized by the political outrage that Iran had caused with the States in regards to capital punishment on women.The Research and Development of the dappleThorough research acquaintn how on the 20th September 2010 Iranian judicature publicly accused the US of Double Standards in a newspaper article published in The Guardian. Centred on a 43 year old Iranian, Sakineh Mohammadi Ashtiani and a 43 year old American T here(predicate)sa Lewis. Ashtiani was issued with capital punishment in 2007 after it emerged that she had an illicit affair with a man after the death of her husband in 2006 this was later revoked and she was aerated with adultery, manslaughter and the murder of her husband. After heavy media attention in 2010 and the international campaigns turn over by her children, the US decided to interfere. It was at this tier that the political and argu able debate first took form. Iran used the case of theresa Lewis and the issues surrounding her low IQ of 72 in order label the US Government as a hypocrisy. As a group we decided to build upon the idea that this issue was now a advantageously known moral dilemma in the look of the media and transfer this to our sense of hearing.Preparation of rolesDue to a famine in group members most people on role allocation curioed up with multiple roles outside of heaveing. As a salutary leader I was required to both(prenominal) direct and create our script. opposite roles dist ributed included head of rubor, head of technology (computer, projections, music), Costume designer/ denseened designer and overly a physical driving force leader. After having enjoin a shot in both our performances of The Seagull Anton Chekhov and also our overhaul performance of Shakespeares Romeo and Juliet I had already gained experience on my strain for this role. Previously I had directed a scene from The Seagull ground upon the German movement in the 20th Century, Expressionism.I had began reviewing work from Georg Kaiser, Oskar Kokoschka and Ernst toll agent whom were all exceedingly influential period of playwrights. As I had already worked hard to gain understanding of this tradition I authenticly hoped I would be able to use this experience. Following on from this I began thinking that perchance I could find a tradition for each country mired in order to uniquely apply my imagination to our piece. After perfect(a) research however it was evident that Iran had not really adapted a specific practice in order for us to carry out this desire. Whilst researching I stumbled across the book pictured below and I was potty with the wordsmost people do not speak of p pose area and Iran in the same breathBy Willem FloorBecause of this we decided to exchange tact and opt to constitute the juxtaposition instead through lightness and staging.The ScriptAs well as directing, my role was also to obtain the script. After having seen a production of Willy Russells Blood Brothers I was fascinated by the narration used. Blood Brothers based upon the separation of ii geminate brothers at birth uses, a fibber to guide the play. I took ambition from this and used the rhyming couplet format in order to symbolise the two women. Before penning the script we produced a flow map collectively annotating the main p mess and adding aspects of theatre which we had learnt on our journey. at a lower place is a copy of our chart.After having an outline of things to be included in the script I began by listing all of the main things we wished the narrator to introduce in the play. We had a vision that the narrator would guide the play throughout through facts and that he would create a connection surrounded by the audience and the cast. Because of this the narrators manner of speaking was conducted first in its entirety. From here it really felt as though my script had a well-set spine on which to build our piece. As our piece began with a police interview we wished to keep it at a in truth simplistic level of speech just like that of a real interview. We decided on stage direction so that the interviewer was not visible throughout sledding the actress playing Ashtiani alone on stage to symbolise how she was alone and not supported when interrogated.It was at this point that we reflected upon our past workshops based upon speech and representation forms in which we can convey speech. A workshop came to mind from the preceding t erm where we had built upon the idea of a dense collage. A sound collage is where there is a build up of speech from multiple participants aimed at a particular subject. We decided that this would be a way of communicating to the audience a sense of anger or revolt because of this we attached it to the chart in relation to the campaign against Astianis sentence as we felt this would have a strong effect. another(prenominal) was that symbolism was used through my script writing was through Ashtiani and Lewis monologues again lay downing how they were both alone yet in the same situation. We began our scarper creating a one-person video display based upon a real keep event or experience which we had within our lives.Within my one-person show I had a vast majority of my speech presented as a monologue and I wished to transfer my craftsmanship of producing monologues into our script. In order to create the monologues I first had to visualise the characters whom would be performing them. Because they were both real women I was able to complete a lot more thorough research into them gaining a better portrayal as them as individuals. From this I concentrated on themes and emotions which I wished to get across to my audience through the monologues. I learnt that Ashtiani and Lewis alike were very religious thus concentrated their monologues from a very philosophical and religious point of view however I still kept in mind that their two religions were very different and ensured that I kept the earmark context throughout (e.g. Allah instead of god for Ashtiani).Whilst researching our topic we had found that there had been a lot of media attention on both cases and we wished to portray to the audience just how oft the media had been involved also we wanted to show them how much people are influenced by the media. For the character of our chart where we introduce Teresa Lewis an idea was formed so that she would be introduced through a television broadcast. I be gan this section of the script by visualising a news reporter sat at a desk within the audience speaking directly at them. This idea developed and led us to have another cast member as a diary keeper actually interviewing Lewis at her correction centre. The idea of another interview quality dialogue was to portray the two womens contrarietys in the way they were macrocosm interviewed and questioned.Allocating RolesTo begin with it was decided that it would be best to create a mindmap of suggested roles that would aim to be filled in order to go ahead with the production. Below is a copy of our mind mapHowever we issued a job when it came to the casting of roles. As we only had two female members of our group we were mechanically cast as the two women. This then left us with triplet males to cover a total of six casting roles because of this we had to organise ourselves in a way that allowed each male to cater to two move without them conflicting. We managed to do this by usin g a theatre practice sagely after an idea emerged that the narrator would be in the style of a Bunraku puppet master the omozukai. We were first introduced to Bunraku puppetry by our elder Baccalaureate students who provided us with a workshop. We decided that everything in the production should be under the narrators reign like puppets would be in a way the narrator could be seen as the controlling governments holding the women for their crime. Introducing this style allowed for a lot of conventionalized movement pieces throughout our performance.CharacterisationAfter having been allocated our roles we wanted each cast member to fully understand their character whether it be an officer of the law, a journalist or one of the women themselves. We provided each member of the group with an image relating to their character Below is the image I was provided with along with how I answered authorized questions given to me by my peers in order to develop my characterisation.It was at th is point we experimented using a technique called hot seating in order to enhance characterisation. We each took it in turns to be questioned in character. Everybody found it highly difficult at first however after a a couple of(prenominal) minutes everyone managed to get the hang of it. We also brought in aspects we had learnt from our workshop on Stanislavski in how to apply his theories. We continued building on our characterisation by looking for resourcefulnesss. I found a particularly good resource online 2 from amnesty international which was not only personal but also highly emotive. In particular this helped me with my monologue as I was able to feel connected to my character in order to portray the appropriate emotions.There was a great discussion between the group as to whether we should apply accents or not. It was decided that we should not apply accents but that we should be highly expressive and use the gift of sound/speech in other more appropriate ways such as our sound collages.MovementFrom a very early stage of production I had a very vivid image of where I would ideally see the piece sacking in terms of movement. I really enjoyed both Kabuki theatre as well as improvised dance. We tried to unified the two into the scene that the Iranian officials came to collect Ashtianis lover. We tried a lot of improvised movements however found that the final product was much disorganised and we really wanted this scene to be both memorable and pivotal so we decided to journey down another path. get along discussion led us onto tableaux however after a wretched workshop this idea was also disregarded on the ground that the scene should have a content of movement in order to accentuate the brutal separation of the lovers. From this we organised a lesson where we explored the idea of using productive movement on the basis of a fight. We choreographed a routine using levels to show who was in control and also pace to highlight authentic features. In the end the product for this movement piece in my eyes was highly effective in the way it showed the lovers universe torn by by their government and law.MasksWhilst developing our first scene we had to identify the difference in authority to the audience. We also had to show the difference in characters through this method due to the males playing more than one character. After having workshops on masks previously we were aware that the purpose of masks in Greek theatre was to intend the unity of a chorus because of this we used them for our two Iranian officials as they had no speech during their time on stage. The idea of the masks was to create hypertrophied facial features portraying the anger and authority associated with that scene yet at the same time disguise the actors true selves. The mask allowed us to show the contrast between the different levels of hierarchy within the scene as well as symbolise the isolation that the couple were feeling being faced with masked in truders.MusicWhen devising our piece it was decided that our piece required two pieces of music. There was one necessary at the time of the movement scene where the Iranian couple are separated. We found a piece of music by Radio head entitled guggle show host. The tempo of the song was highly appropriate to the atmospherical desire as it showed confusion, regret and desire all at once. The lyrics in the song such as You want me?Well come on and break the door downYou want me?3 we believed were perfectly fitting for the scene. We were able to synchronise our movement so that our choreography was carried out in time to both the music and in time with other cast members. There was also another piece of music entitled We are the terra firma by Lionel Richie and Michael Jackson to be played at the very end of the performance. This particular piece of music I believe thoroughly puts the innovation into perspective emphasising the importance of life which at the end of the performance is taken from the women.LightingDue to there being two separate stories going on at one time on the stage the lighting was crucial. We used 2 spotlights (1 for each female character) with colour faded pensive lighting upstage. The flood lights used were chosen appropriately especially in terms of colour. For example green was used to portray coldness whereas red was used to show anger. We tried a variety of colours for the movement scene however in the end after a lot of trial and error we finally agreed on red fading through to blue to show the anger from the officials resulting in the blue for the solitariness and sadness. I really enjoyed experimenting with the lighting as not only did I learn a lot but we were also able to show the juxtaposition.StagingFor our staging we tried to show the contrast through down(p) and white flooring, curtains and background knowledge. Not only did the black and white create the pic of harsh and soft but it also symbolised the two races. Be low is a sketch of how we designed the set.The idea was that neither side crossed the limitation set out in the middle. We put 2 old make conducts back to back for the two women in the centre of the stage for them to be seated on at the end. Other than the 2 chairs there were no other props on the stage.Because we tried to use a very simplistic set design we compensated for this with a projector carefully placed to project newspaper headlines onto the white cloth background. Also attached to the backdrop was metal shackles which Ashtianis wrists were placed into to set the scene of her cell as well as show the restraints that she had against her Lewis however had nothing but the chair and was not restrained in any way to show the two sides of the world two political views on law enforcement. As a whole I really enjoyed making the set as well as designing it. Although we encountered a few problems setting up the projector and laying out the flooring I was very happy with the outc ome. The finished product was highly symbolic which was totally what we were aiming for.Bibliography1 http//orangehouse.tumblr.com/post/778392704/campaign-for-iranian-woman-facing-death-by-stoning2 http//www.amnesty.org.uk/actions_details.asp?ActionID=7063 http//www.sing365.com/music/lyric.nsf/talk-show-host-lyrics-radiohead/193ae81bd7d8a3fb4825686600141d5f