Electra Old Vic Performance Notes

Electra Old Vic Performance Notes

Notes

Picture - Google Images/ bbc.co.uk

Picture - Google Images/ www.huffingtonpost.co.uk

• The door in Electra acted as the traditional 'skene' in Greek Theatre.
• The floor was sandy, which represented Greece's weather.
• All of the play was based outside.
• Electra (actress) and Mum were near enough the same age - weird casting choice.
• Time passing was unclear.
• 'If someone hurts your Father, the son will grow up and evenge' - this was a belief by Greek society, hence why it was all down to Orestes. A modern day version of this belief is the Mafia and their ways.
• Whilst it was a modern theatre in which they employed theatrical lighting, they attempted to replicate everyday external light states - natural.
• The stepdad spoke in stacatto, which juxtaposed to all of the other characters. He is high status. He came across as weird and awkward, like the King in Medea. His costume was slightly pantomime, and not appropriate in my opinion.
• No use of song and dance. The inclusion of song and dance is a tradition in Greek Theatre, so an absence of this was odd.

Audition Tapes - Assignment 1

Audition Tapes

1. Steve Carell Audition Tape

Strengths: Stays in character, good acting for eating and holding the food.

Weakness':

2.

Strengths:

Weakness':

Unit 40 - Choreographing Skills: Down & Out/Research

 Down & Out/Research

Bugsy Malone is a 1976 British musical gangster film, Set in Chicago, the film is loosely based on Chicago events from the early 1920s to 1931 in the Prohibition era,

Down & Out Video Clip

We watched the Clip, There was lots of marching sequences, which look very military and the majority of the song was performed in unison. There was lots of repetition used along with movement of lots of stamping, short and static movement. This give it a rhythmic feel to the piece. used From this we deiced we would use unison in our choreography.

Our Group MindMap for our first thoughts and ideas on Down and Out;

Creating our choreography for Down & Out - Video

My Down & Out Video Clip

I feel our choreography and performance of Down and Out changed every show.

After the disaster of the first show performance we went all together into the dance studio with Emily and went through the motifs and movement making sure our timing and movement was correct and looking all the same.

This was due to; missing dancers, which lead to last minute backstage changes and regrouping and different spacing.  And the lack of space which meant we have to be closer to together and be aware of chairs, the audience, set and props. This became a problem as every night the tables has slightly moved and audience members were sat in different places, so we didn't really have much place to do our movements big and boldly like we had planned.

The timing was quite often not right but the front 4 dancers tried to stay in the same timing and the back 4 did the same too. When we all danced together I thought the dance worked well and looked good.

The dance was quite different to all the other dances in the rest of the show as this had a contrast, it was down moral dance and is the lowest point of show. 

Source: Website

Date of Post published: Edited 3rd January 2015

Name of page: Wikipedia

Available from: http://en.wikipedia.org/wiki/Bugsy_Malone

Date Assessed on: 17th Novemeber 2014

Unit 40: Choregraphing Skils: Motif, Climax & Choreographic Devices

What is a Motif?
a short series of actions, repeating in various parts you can develop 

What is a Climax, in dance choreography?
build up in dance, dynmiaic point and highlight of the dance.

Different way you can develop a motif/choreographic devices
Fragmentation - breaking the move down nd putting it back together in a different way. (mirror theory - break a mirror and put it back together)
Retrograde - doing the motif backwards
Speed/Tempo - changing the speed and tempo of the move, for example making an arm swing quicker or slower
Quality -
Levels - changing the different level to the motif, for example doing an arm swing lower to the group or while jumping
Repetition - repeating the motif
Embellishment - adding a little or big movement onto a move, for example adding a and flick on an arm swing.
Emphasis - giving a emphasis on a movement
Instrumental -
Size  - adjusting and changing the size of the movement, for examples making an arm swing a lot bigger or smalle

Unit 40 - Choregraphing Skills : Stimulus & Structures

What is a Stimulus?

It is something that gives you an idea or a starting point

Different Stimulus types

Visual stimulus are something you can see, e.g. photos, videos, paintings.

Tactile stimulus are something you can feel, e.g. hedgehog, cotton wool, marshmallow

Auditory stimulus are something you can hear, e.g. music, atmosphere

Ideational stimulus are the idea of something, e.g. holocaust, raining, weather, seasons.

Kinaesthetic stimulus is the movement its self.

Compositional Structures

The AB Structure - Binary - one of the more simplistic structures, like a verse and chorus of a song. A and B need a translation or a link.

Chance - movements are chosen at random or randomly strutted to create a movement sequence or a dance.

Narrative/Episodic structures - Choreographic structure that follows a specific story line. The structure helps the story lime. The structure helps the story unfold and each section is a further exposure of the ideas or story. The choreographer must consider the linking/transitions of each section.

AB/AC/AD/AE Structure - Rondo - A further extension of AB. The idea that A keeps returning.

ABA Estruture - Ternary - So the beginning and end are the same with a contrast in the middle. Like chorus verse chorus.

Theme and variation - A1 A2 A3 A4.- Varying a motif, not developing into something totally new and unseen before but instead caring/changing the dynamics, moods, space, style of A

Unit 40 - Choreographing Skills: Cats/Jazz Solo

Cats/Jazz Solo

Music: Jellicle Cats Audition Date: 11th December 2014

Ideas: Choreographic Movements;

• Jumps
• Turns
• Rolls
• Head Rolls
• Leg kicks
• Leaps
• Floor work
• Circler Hips
• Ball changes

Ideas: Choreographic Devices, to use;

• Repetition
• Fragmentation
• Retrograde
• Levels
• Speed 
• Size

Speed - use of pauses will be used a lot as the music is very jumpy.

Levels - lots of floor work, jumps for higher levels and rolls.

Size - the size of the movement will be big and bold.

Research into Cats

Background information:


Since Cats first opened on the West End stage in 1981, it has become one of the world’s best known and best loved musicals. 

- (http://www.catsthemusical.com/the-show/background/)

On just one special night of the year, all Jellicle cats meet at the Jellicle Ball where Old Deuteronomy, their wise and benevolent leader, makes the Jellicle choice and announces which of them will go up to The Heaviside Layer and be reborn into a whole new Jellicle life. 

- http://london.catsthemusical.com/the-show/

Youtube Videos for Inspiration & Research

1. Jellicle Ball
I like the speed of this dance and the leg kicks,
I would like the use the kicks in my choreography.

2.Palladion Dance - Jellicle CatsI 
l like there floor work used in this clip, and hopefully was something like this in my solo too!

3. Macavity 
In this clip i like the very simple movement and they way it look effortless and easy to perform. I aslo like the gesture movements and arm movements in this clip too.

Rehearsals 

In our lesson on the 17th November, we had a short lesson on beginning to start choreographing our solo. In the background we had the music video, this helped me to see what movement is used in the musical and help me with choreographing my solo.

So i have decided for my researched into the Jazz style movement for cats to look at youtube videos and create a motif for the inspiration i have gathered for the videos/research.

After the lesson on 17th November I continued to research and gather movement inspired, I began to create a short motif.

Next I developed onto the short motif I had already made, adding more turns, steps and travelling movement. I also made sure I had Cat like gestutres in my solo too.

This was now called section A of my solo, approx 40 seconds of my solo.

* Here is my Spacing Plan of Section A; 

Section B of my solo was created from looking at the movement from the Youtube clip 'Jellice Ball'. I tried to interrupt the some of the movement done in the video in my own and way and use frigramention to create my own motif.

Finally I repeated most of the Section A phrase to finish my Solo, this is also uses the choreographic device 'repetition' .

I used a ABA structure through out my Jazz style Cats solo.

* I made a Spacing Plan to make sure I am using the whole space of the dance studio. This helped me to  see where I could put in travelling sequences and use different directions and facings in my solo. I found it very helpful to see where i could go next with my solo and what parts of the space I hadn't used.

Development in My Choreography  - Notes

1.

2. 

Peer Assessing 

Here is the sheet that Sax used to evaluate my solo, she did this one our last lesson before our audition.

This sheet helped to see what another opinion thought of my solo and more crucially what devices and movements I hadn't put and missed in my solo, its also showed me what devices and movements I needed more of or less of!

Link to finished Solo/ Cats Audition

Evaluation of my Final Cats Solo

The choreographic devices, movements and skills I used in my final solo were repetition, fragmentation, climax, tempo and rhythm changes, structure development, different use of dynamics, confidence, performance skills, gestures, travelling phrase, rolls, leaps, pirouettes and turns.

Some of the strengths in my final solo was the lengths of dance, I made sure I had the right timing and correct time given to express myself and the dance. I found getting into the character and focus of the dance quite easy, this was because I enjoyed the music and the theme of the dance, I also found the characteristics of a being a 'Cat' quite easy to grasp. I was confident and tried to keep the excitement  and pace of dance to the max through the dance. I wanted the audience to enjoy it.

The weakness in my final solo were ...

If I was to do it again I'd make sure I'd practised my leaps more and maybe stretched before my audition, so they were higher and prettier to look at and included some kicks to get more levels and heights to the dance.

Unit 40 - Choreographing Skills: Rush

 Akram Khan's RUSH 

Rush Video Clip

Notes to think about when starting the review:

• India dance comptempary Kathak
•  -9 1/2 beats
• relation cannon changed of speed/temp retrograding
• blue wash/ plain
• repeating
• simple costumes
• options/backup
• star rating
• clips

My Review

Akram Khans’s Rush is in the style of contemporary dance, especially Kathak, which is a classical an Indian dance.

The dance is set as 9 1/2 beats and is performed in a trio. The stimulus for the dance and choreography is the idea of ‘free-falling’.

The lighting in Rush lit to be a blue wash and rather plain. This makes to stage look vey simple but shows bit of colour, maybe the lighting designer was trying to show some resemblance to the sky and link in with the stimulus and theme. The way the lighting has been done for this dance also makes it very easy to see the dancers and they do stand even when each dancer is wearing the same black costume on a black backdrop. I personally think the lighting is very effective. 

At the opening of the dance the lighting starts quite dark and brightens up as the pace of the music and movement picks up.

The music starts with the sound of swishing which connects and links with the movement. As the swishing noises increases and begins to sound like the wind you hear when you are going or jumping out of a plane, it matches in with the dances rotating their arms.

There are lot of choreographically devices used in Rush, for example ‘unison’. Unison is appears and is used in Rush when stillness and pauses happen, their left arms are in by the chest with the right arm extended out and stops. This use of union and pause creates an atmosphere of tension, very broken and being ‘on edge’.

The main device used in Rush is ‘cannon’, a lot of the time in this dance a short piece of movement is performed by one dancer and then is copied by the next straight after and so on again.

Akram Khan has tried to represent the movement when exiting a plane and starting the  ‘free-falling. He has done this by completely changing the dynamics of dance and especially by changing the speed and tempo. This is shown when the dancers perform their movements at a much faster pace, in unison as well, and begin to use a edge and slides of the stage and use the space a lot more effectively, just like having that space and freedom when jumping out of the plane. This shown very clearly to the audience and the audience can understand what is happening and going on. 

‘Repetition’ is another device used in Rush. This helps to highlight a specific and key movement, like when the dancers perform a motif when they are bent over with their arms spread horizontally. and os repeated. This movement  also reflects the mental and physical preparation a person think about and goes through in their mind before jumping out of the plane.

In conclusion to this review, I thought Akram Khans’ Rush was good. If I could change one thing it would be adding a few more dancers, I personally think this would be more beneficial as you could get separate different trio motifs and expand the cannons and unison parts of the dance too. This would bring a bit of more a visual aspect to the performance also.

Other peoples reviews - Professionals ones.

"he is classical and modern, earthy and mystical, sensuous and masculine, fluid and muscular and he embodies these dramatic opposites without any tensions." - anne sacks, london evening standard, 2 february 2001

(http://www.akramkhancompany.net/html/akram_production.php?productionid=15)

Rush is a new trio, and Khan’s first group choreography. The piece is stamped with Khan’s distinctive style of quickfire motion within fluctuating cycles of tension and reverberation, and while contemporary dancers Gwyn Emberton and Moya Michael suffer by the simple fact of not being Khan himself, they get impressively close to matching him.

The construction is tight and formal, phrases passed between the dancers, duets and trios splintering out of phase, interlocking and reforming. Yet in the end the work is more interesting for Khan’s idiosyncratic movement invention than for its composition. Perhaps this is only to be expected from his first ensemble piece – I’m reminded, for example, of Wayne McGregor’s initial forays into groupwork, similarly built around the highly distinctive idiom of their choreographer. McGregor has since considerably developed his compositional skills while maintaining his personal style, and I look forward to Khan’s future experiments in this direction.

Like the opening musical number, Rush is based around a nine-and-a-half beat time cycle (not that I could follow it). But by opening and closing in this way, the show suggests a journey away from kathak and a return to it, now intriguingly transformed. If kathak remains a source of inspiration and renewal for Khan, this programme also indicates that he’s gaining new ground with each loop of that creative spiral.

(http://sanjoyroy.net/2000/12/akram-khan-fix-rush/)

.

Week 2 

• I learnt the pharse from Rush and developed it wit Sophie. 
• We used canon, repetion, changes of tempo and exploring extremes of speed.

Week 1 

• 
  
• Improv dance and learning the phrase from Kat and Sophie.
• Background & Quick Notes of the performance of Rush.

Unit 12 - Classical Theatre Perfomance: Greek Theatre Research

Greek Theatre Research

The Greek Theatre

Most Greek cities had a theatre. It was in the open air, and was usually a bowl-shaped arena on a hillside. 
Some theatres were very big, with room for more than 15,000 people in the audience.

Picture - Google Images/ www.resources.mhs.vic.edu.au 

All the actors were men or boys. 
Dancers and singers, called the chorus, performed on a flat area called the orchestra. Over time, solo actors also took part, and a raised stage became part of the theatre. 

 The actors changed costumes in a hut called the "skene". Painting the walls of the hut made the first scenery.

The plays were comedies or tragedies.

The 'Theatron' is the place where the audience and viewers of the play sat. The word 'Theatron; means ' viewing place' in ancient greek.

Source: Website

Date of Post published: -

Name of page: BBC

Available from: http://www.bbc.co.uk/schools/primaryhistory/ancient_greeks/arts_and_theatre/

Date Assessed on: 14th October 2014

*The Orchestra (1)-  The orchestra was in front of the auditorium. Behind the orchestra was the skene.

The Stage (2) -  This is where most of the plays were performed.

The Parodos (3) - The Parodoi was a side entrance, where the audience and actors entered and exited from.

The Altar (4) - The altar was located in the middle of the orchestra

The Skene (5) - The skene was not originally a permanent building. The Skene was usually a building behind the playing area the was a hut for the changing of mask and costumes,  emerged from it through a few doors. Later, the flat-roofed wooden skene provided an elevated performance surface, like the modern stage.

The Seating (6) -  The seats were arranged in curving tiers, so that the people in the rows above could see the action in the orchestra and on stage without their vision being obscured by the people beneath them.
The earliest Greeks who came to watched the  performances probably sat on the grass or stood on the hillside to watch. Soon there were wooden benches. Later, the audience sat on benches cut from the rock of the hillside or made of stone. 

There was a special block of seats reserved for members of the boulê, the 500-member Executive Council of the Assembly. Ordinary citizens might have been assigned seats.

Source: Website

Date of Post published: -

Name of page: About Education 

Available from: http://ancienthistory.about.com/od/greektheater/ss/120109GreekTheater_2.htm

Date Assessed on: 14th October 2014

Picture - Google Images.

What were Greek plays like?

Greek actors wore masks, made from stiffened linen, with holes for eyes and mouth. 

Picture - Goggle Images.

Actors also wore wigs. They wore thick soled shoes too, to make them look taller, and padded costumes to make them look fatter or stronger. The masks showed the audience what kind of character an actor was playing (sad, angry or funny). Some masks had two sides, so the actor could turn them round to suit the mood for each scene.

The best actors and play writers were awarded prizes - a bit like the Hollywood Oscars and BAFTAs today. 

The most famous writers of plays were Aeschylus, Sophocles and Euripides for tragedy and Aristophanes.

Source: Website

Date of Post published: -

Name of page: BBC

Available from: http://www.bbc.co.uk/schools/primaryhistory/ancient_greeks/arts_and_theatre/

Date Assessed on: 14th October 2014

Typical Structure of a Tragedy

1. Prologue: A monologue or dialogue preceding the entry of the chorus, which presents the tragedy's topic.
2. Parode (Entrance Ode): The entry chant of the chorus, marching rhythm . Generally, they remain on stage throughout the remainder of the play. Although they wear masks, their dancing is expressive, as conveyed by the hands, arms and body. 
3. Episode: There are several episodes (typically 3-5) in which one or two actors interact with the chorus. They are, at least in part, sung or chanted. 
4. Stasimon (Stationary Song)
5. Exode (Exit Ode): The exit song of the chorus after the last episode.

Picture - Google Images.

Typical Structure of a Comedy

The chorus in a COMEDY PLAY is also larger: 24 (as opposed to 12-15). 

1. Prologue: As in tragedies.
   
   
2. Parode (Entrance Ode): As in tragedies, but the chorus takes up a position either for or against the hero.
   
   
3. Agôn (Contest): Two speakers debate the issue  and the first speaker loses. Chorus songs may occur towards the end.
   
   
4. Parabasis (Coming Forward): After the other characters have left the stage, the chorus 
   
   
5. Episode: As in tragedies, but primarily elaborating on the outcome of the agon.
   
   
6. Exode (Exit Song): As in tragedy, but with a mood of celebration and possibly with a riotous revel (cômos), joyous marriage, or both.

Source: Website

Date of Post published: Tue Sep 14 14:32:07 EDT 1999

Name of page:  Typical Structure of a Greek Play, Bruce MacLennan

Available from: http://web.eecs.utk.edu/~mclennan/Classes/US210/Greek-play.html

Date Assessed on: 14th October 2014



Unit 12 - Classical Theatre Performance - Electra

Electra
Performance Dates: 25th - 27th November 2014

Production Role - Marketing with Niamh

Programe:

Theme Colours: Orange, Brown, Burnt out shades.

• Name of performance: Electra 
• Sponsorship: £30 half page, £15 quarter
• Cast Photos: Done on Fridays PAB lessons - 24th Oct 2014
• Cast Name/Message: Sent to me or Niamh on Facebook/WhatsappGroup 
• Performance Information
• Dates: 26th - 28th November 2014
• Times: 26th Nov 6.00pm, 27th Nov 6.00pm & 2.15pm, 28th Nov 2.15pm
• Where: Sealight Theatre, Worthing College
• Ticket Price
• Many Thanks
• Photos
• Worthing College logo
• Performing Acts logo

Poster/Leaflet:

Theme Colours: Orange, Brown, Burnt out shades.

• Name of performance: Electra
• Dates: 25th - 27th November 2014
• Times: 25th Nov 6.00pm, 26th Nov 6.00pm & 2.15pm, 27th Nov 2.15pm
• Where: Sealight Theatre, Worthing College
• Ticket Price: 
• Worthing College logo
• Performing Acts logo

Advertisement:

• Advertise on the Worthing College Facebook and Twitter
• Leaflets
• Poster

Performance Role - Sister of Electra, Chrysothemis

• Rehearsals 1 - Read Through with All Cast: 17th Oct 2014

Strengths of Todays Rehearsals:

Particular ways your Character has devopled:

Weakness of Todays Rehearsals:

Particular areas your Character needs to develop:
-> Understanding dialogue
-> Pronunciation
-> Character development

• Rehearsals 2 - Blocking: 21st Oct 2014

Strengths of Todays Rehearsals: Understanding where i am standing and facing toward in Act 1 and beginning to create a voice/accent for my character. This helps me when learning my lines in the half term as i can practise the way i prudence my words and lines.

Particular ways your Character has developed:
I have started to create a sarcastic tone and mood to my character. The tone is towards Electra and the idea of her friends being true.

Weakness of Todays Rehearsals:
Pronuncing, delivering and understand my lines. i will need to look further into what i lines mean and how some of the words are said.

Particular areas your Character needs to develop:
-> Understanding dialogue
-> Pronunciation
-> Character development

• Rehearsals 4 - : 14th Nov 2014

Strengths of Todays Rehearsals:

Knowing where I now am and blocking, stage presents and how I should act.

Particular ways your Character has developed:

Now has a beginning a personality

Weakness of Todays Rehearsals:

Remembering lines

Particular areas your Character needs to develop:
-> Understanding dialogue
-> Pronunciation
-> Character development

Artistic Policies - Assignment 2

Companies Artistic Policy's 

What is an Artistic Policys?

A written statement about the aims of the theatre and the type of work that goes on.

1.  DV8 Artistic Policy

DV8's Artistic Policy speaks a lot about what they offer and what their company is about. They state that they are largely accessible to all audiences and touch on wide range of topics and communicating ideas and feelings. I personally feel that this Artistic Policy is heavily focusing on what their company is about and what they create and ho whey communicate their ideas as a company. They don't suggest so much as to what their target audience is however the idea I get is that it is for a general all age audience as I personally believe that it would specifically state appropriate age ranges and target audiences if was specifically for children or most definitely for 18+ etc.

2. 1927 Artistic Policy

Employment in Performing Arts Mindmap - Assignment 2

Employment in Performing Arts Mindmap

Unit 12 - Classical Theatre Performance - Dr. Faustus

Picture - http://it.wikipedia.org/wiki/La_tragica_storia_del_Dottor_Faust

Dr. Faustus

*Doctor Faustus; a play by Christopher Marlowe.The play was based on a story Faustus, which was a German story. 
The story is about a man who sell his soul to the devil. He does this for power and control over what he wants. The play was set in the 1580's and was set in Europe, specially Italy and Germany. The play was also set and acted out in the Elizabethan period.Elizabethan theatre was performed by only male actors as females were not allowed to act. The plays were rarely performed two days in a row and the plays had a political message involved.  They would also use masks just like Ancient Greek theatre but these mask had attached hair. This showed the audience if they were playing a female character or not.

* Character List for Dr. Faustus;

Faustus  -  The protagonist. Faustus is a brilliant sixteenth-century scholar from Wittenberg, Germany, whose ambition for knowledge, wealth, and worldly might makes him willing to pay the ultimate price—his soul—to Lucifer in exchange for supernatural powers. Faustus’s initial tragic grandeur is diminished by the fact that he never seems completely sure of the decision to forfeit his soul and constantly wavers about whether or not to repent. His ambition is admirable and initially awesome, yet he ultimately lacks a certain inner strength. He is unable to embrace his dark path wholeheartedly but is also unwilling to admit his mistake.

Picture - http://www.luminarium.org/renlit/larsonmarlowe.htm

Mephastophilis  -  A devil whom Faustus summons with his initial magical experiments. Mephastophilis’s motivations are ambiguous: on the one hand, his oft-expressed goal is to catch Faustus’s soul and carry it off to hell; on the other hand, he actively attempts to dissuade Faustus from making a deal with Lucifer by warning him about the horrors of hell. Mephastophilis is ultimately as tragic a figure as Faustus, with his moving, regretful accounts of what the devils have lost in their eternal separation from God and his repeated reflections on the pain that comes with damnation.

Chorus  -  A character who stands outside the story, providing narration and commentary. The Chorus was customary in Greek tragedy.

Old Man  -  An enigmatic figure who appears in the final scene. The old man urges Faustus to repent and to ask God for mercy. He seems to replace the good and evil angels, who, in the first scene, try to influence Faustus’s behavior.

Good Angel  -  A spirit that urges Faustus to repent for his pact with Lucifer and return to God. Along with the old man and the bad angel, the good angel represents, in many ways, Faustus’s conscience and divided will between good and evil.

Evil Angel  -  A spirit that serves as the counterpart to the good angel and provides Faustus with reasons not to repent for sins against God. The evil angel represents the evil half of Faustus’s conscience.

Lucifer  -  The prince of devils, the ruler of hell, and Mephastophilis’s master.

Wagner  -  Faustus’s servant. Wagner uses his master’s books to learn how to summon devils and work magic.

Clown  -  A clown who becomes Wagner’s servant. The clown’s antics provide comic relief; he is a ridiculous character, and his absurd behavior initially contrasts with Faustus’s grandeur. As the play goes on, though, Faustus’s behavior comes to resemble that of the clown.

Robin  -  An ostler, or innkeeper, who, like the clown, provides a comic contrast to Faustus. Robin and his friend Rafe learn some basic conjuring, demonstrating that even the least scholarly can possess skill in magic. Marlowe includes Robin and Rafe to illustrate Faustus’s degradation as he submits to simple trickery such as theirs.

Rafe  -  An ostler, and a friend of Robin. Rafe appears as Dick (Robin’s friend and a clown) in B-text editions of Doctor Faustus.

Valdes and Cornelius  -  Two friends of Faustus, both magicians, who teach him the art of black magic.
Horse-courser  -  A horse-trader who buys a horse from Faustus, which vanishes after the horse-courser rides it into the water, leading him to seek revenge.
The Scholars  -  Faustus’s colleagues at the University of Wittenberg. Loyal to Faustus, the scholars appear at the beginning and end of the play to express dismay at the turn Faustus’s studies have taken, to marvel at his achievements, and then to hear his agonized confession of his pact with Lucifer.
The pope  -  The head of the Roman Catholic Church and a powerful political figure in the Europe of Faustus’s day. The pope serves as both a source of amusement for the play’s Protestant audience and a symbol of the religious faith that Faustus has rejected.

Emperor Charles V  -  The most powerful monarch in Europe, whose court Faustus visits.

Knight  -  A German nobleman at the emperor’s court. The knight is skeptical of Faustus’s power, and Faustus makes antlers sprout from his head to teach him a lesson. The knight is further developed and known as Benvolio in B-text versions ofDoctor Faustus; Benvolio seeks revenge on Faustus and plans to murder him.
Bruno  -  A candidate for the papacy, supported by the emperor. Bruno is captured by the pope and freed by Faustus. Bruno appears only in B-text versions of Doctor Faustus.

Duke of Vanholt  -  A German nobleman whom Faustus visits.

Martino and Frederick  -  Friends of Benvolio who reluctantly join his attempt to kill Faustus. Martino and Frederick appear only in B-text versions of Doctor Faustus.

Source: Website

Date of Post published: - Edited on 27th January 2014

Name of page: Wikipedia

Available from: http://en.wikipedia.org/wiki/Faust

Date Assessed on: 2nd October 2014

Source: Website

Date of Post published: -

Name of page: Spark Notes

Available from: http://www.sparknotes.com/lit/doctorfaustus/characters.html

Date Assessed on: 2nd October 2014

Picture - Sealight Theatre.

Learning the Script:

Learning the script was tricky because the language was what i was used and the words were hard to produce and say.The language of the text was hard to understand at first but when I started to act it out with directions for the director I started to learn my role a lot more.The rhythm of which the text was written and meant to spoken in was iambic pentameter.Overall i found learning and remembering the script got easier as it went along and i knew what i was saying and i understood what i was acting out and trying to portray.



Character One - PrideVery confident character, very loud and proud.


Evaluating the Final Performance:The staging look like this...

SELF - EVALUATION
Strengths	Weakness
Use of volume in my voice in both scenes.	Remembering the lines/text.
Staying focus throughout the whole performance.	Mining in the beginning section - could of had more of a structure/blocking.
Carried on with the performance when problems accrued in scene playing the Pope.	Could of been more confident when delivering lanes.
Covering up any mistakes in the scene playing the Pope.
Ending i completing got into the character of the Angry Sin.

OTHERS - EVALUATION
Strengths	Weakness
Sophie - Use of changes in the volume of her voice.	Sax - Forgetting her lines! Bless her!!
Cat, Beth, John & Josh - Use of physical theatre .	Sax - Forgetting the movement.
Ellie - Use of pauses in her voice.	Natalie - lack of volume in her voice.

Our Faustus Performance