Nescast Reflections
Project related Reflections
(22/1/2019) Collaborative Project
Today we got placed into our selected scenes, and met who would be our HND directors for Scratch Night. I was very pleased to find that I had Sorcha and Charity for my directors, as they were both super professional when interviewing me and both seemed worth working with.
Charity seemed to be very excited to be working with me and Matt, and I’ve got to say the feeling is mutual, Charity seems to know what she wants the scene to be, and has a clear view on where she wants us to take it.
The selected scene Charity has chosen is a lighter scene compared to some of the darker scenes the other HNDs have, and for me personally I feel having something lighter will allow me to expand upon my acting range, I also feel like we’ve only been dealing with darker subject material within recent performances so this will be a good change of pace. I’ve got to say I am quite looking forward to what ideas Charity is going to develop with me and Matt over this term.
In Sorchas Group the dynamic will be quite different as it’s a larger group, however I feel that Sorcha also knows what she wants from her scene. Like Charity, Sorcha also knows what she expects from us, so I don’t think that having more people will prove to be much of a problem.
I think the scene Sorcha has chosen is a very brave scene to chose as it has so meny Characters, Sorcha has informed us that some of us will be multi-roleing which means some of the characters are gonna be condensed into one.
Again I think Sorcha is very brave to do this as it means that there will have to be alot of script changes and analysis to make the story make sense with less characters. This also means for us as actors a lot of work, which will also give us some good experience working with script changes.
Our time with our directors today was mostly just a sit down where they talked about what thay wanted from us and a low down of their processes, we also did script read throughs.
(24/1/2019) HND Collab Project Rehearsals
In Charity’s session today, we got straight into it and started Blocking the scene where Josh (Matt) is in a dress and Kyle catches him.
Immediately right from the get go we were laughing away, Charity has given us some great direction, and has had some amazing ideas that adds so much fun into the scene.
I feel that my connection with Matt allows us to go full out with our characters, taking them to some pretty ubsurd levels. One of our directions from Charity was to make Josh and Kyle’s friendship really really camp. Me and Matt ran with this direction and it had us laughing to the extreme, so It’s safe to say we’re definitely selling the comidical aspect of the scene that Charity wanted.
In future I feel that I need to control myself abit more with the laughter as ocassionally me and Matt are guilty of finding things a bit too funny, however that also indicates that we’re doing something right in the scene, if we’re not laughing at the funny part then neither will the audience.
With Sorcha’s group it was more of a sit down lesson, reading through the scripts again, however this was very important as the script has alot of changes and its important that we analyse the text so that it makes sense, before we start putting the scene together. We also got officially casted as our characters as Sorcha didn’t know who she wanted as who at first.
My Character is a mix of Jan and Danny but I’m just going to be called Danny within the scene.
After being casted , Sorcha tasked us to do a list of character questions, this was my list.
Who am I : Jan/Danny, a teenage boy who wants to be dentist.
Where am I : a wooded field in Epsom Downs
What time is it : July , 17:00
What do I want : I want everything to be over, I don’t want to get in trouble
Why do I want it : so that I can go dental college
How will I get what I want : by following JT’s plan
What must I overcome to get what I want : my own anxiety
(29/1/2019) HND Collab Project Rehearsal
Today I was just working with
Sorcha’s group on our “DNA” scene, script fixing, doing line run throughs, blocking.
Sorcha’s process has been a slower one compared to the process that I have with Charity. We’ve taken more time to be analytical within Sorcha’s group making sure everything is solid script wise.
In today’s session we finally started focusing on the staging of the scene. This helped us actors know where we will enter from, and who we have to stage ourselves next too for certain dialogues to make sense. All the interactions in “DNA” have to make sense or otherwise the whole Plot won’t make sense.
Some problems we faced was who was already going to be in scene, and who would be walking into scene, also who would be sitting where and talking to who, “DNA” can go very wrong if done incorrectly, what’s crucial to our scene is the relationships and the information the characters say whilst interacting with each other. If certain lines or relationships are portrayed wrong it could have a knock on effect to the context or plot of the scene.
Sorcha has been doing a good job as our director at making sure we stay within line of what the scene requires, and she has made us take a slow approach into the scene so that we don’t overlook any detail that could be crucial.
Also today me and Sorcha came up with an idea to have my character Danny nervously playing with something to do with teeth, like a toothbrush or some floss.
(5/2/2019)HND Collab Project Rehearsals
In today’s session with Charity we were task to go off script. whilst me and Matt was practicing being off script, he kept correcting my lines in which I thought was really condescending. He really managed to find a way to complete shroud my confidence, and I feel like as a partner he shouldn’t of been doing that, as now I have no trust in him catching me if I mess up a line, because his natural reaction was to criticise me, instead of carrying on or trying to help.
Apart from mine and Matts little line disputes, our run throughs without lines were actually really smooth. Okay we ran into some moments where we dropped some lines but other than that the run throughs of both scenes were really good.
Trying to go off script with Sorcha’s group however was a very painful process, it was a correct and necessary process but it was still a painful one.
Basically the process would be to keep repeating parts of the scene whilst being off script. This proved a challenge to all of us within the group especially Mateos as his lines were very challenging lines of dialogue. The problem that I had and most of us had wasn’t actually knowing the lines but instead their order, as DNA’s script is very snappy and interwoven with its dialogue beats.
Sorcha wasn’t very happy with our line learning, however she didn’t scrutinise us for it, I found Sorcha’s approach to our situation to be very professional and well handled. Even when we’re in a bit of a slump with our lines Sorcha was understanding and helped us.
In future to help me learn lines better with more difficult dialogue, I will research different Line learning techniques and methods.
(7/2/2019) HND Collab Project Rehearsals
In today’s rehearsal with Charity we did run throughs with both makeup and dresses that mine and Matts characters wear within the scenes.
Finding the right costumes happened to be a bit of a pickle, however it was also a right laugh. Charity was very professional with her whole selection process, and also very wise not to let me and Matt mess around too much with the costumes…. (We get distracted easily and this can cause us to be unfocused) .
Charity’s professionalism as our director continued to shine through as me and Matt had a heated argument about lines. Charity quickly got involved, sat us down, made us apologise to each other, and then gave us a prep talk so we could continue with our rehearsal. I felt like Charity was very rightful to do this.
Although the argument was over a stupid line dispute, the fact that this keeps happening due to Matt immediately placing blame and condescending me, makes me personally feel discouraged to work with Matt. Our acting chemistry is definitely a strong one, however as a partner Matt is very unsupportive and doesn’t give me the high confidence needed to perform a scene so rich with partner comfortability .
In future when I feel this way with Matt I will let him know so then it doesn’t become a distraction or anything bigger.
Within the session the most challenging thing for me was juggling all the makeup/props. I’m a boy and I haven’t really got any previous experience using makeup so handling the makeup and applying it to Matt within the scene proved hilarious but challenging. However Charity could see I was struggling and gave me advice the whole way through.
With Sorcha, again we did countless read throughs of the lines, as we were all still struggling with them. This is now becoming a problem as we’re so close to performance date, however again Sorcha was calm with us and we took a slow process to going through the lines.
I now feel confident in that I know my lines, however again it’s the beat points that are really throwing me off.
In future I will work with Zac to make sure our beat points for the last section is on point.
(12/2/2019) HND Collab Project Rehearsals
Today was our final rehearsals before our performances. With charity, me and Matt went through some full runs with props and costumes, we did this so I could handle the props better, as in previous runs I was very messy with what went where, having to hold a dozen items of makeup.
I found that by the end of the Rehearsal the prop handling situation had been smoothed and is now to clean standard. I’m glad that my director Charity took this final session to fix the prop situation , as it was my biggest problem/concern , now that’s fixed I don’t have to worry on stage about juggling around lipsticks,makeup bags and whatever else , making my job as an actor on the day easier.
With Sorcha it was the same as usual , people struggling to remember their lines whilst trying to do run troughs, I’m really concerned with how the scene is going to turn out on stage, seeing as this is our final rehearsal and we are still struggling with lines. On a good note I can tell that we as a group have improved on our lines massively and we are in a better place that before.
Achievement for me is that mine and Zac’s beatpoints are in a whole new league than they were previously. With everyone’s own little improvements giving me some faith , I have hope that we can pull it together on the day , I think its not that people don’t know their lines, its just remembering them in the moment, Although still I am very worried about performing this scene.
Additional Training Reflections
(4/1/2019) Stevie’s contemporary Dance Session
In today’s session we learnt a new contemporary warm up routine. I found the warm up routine easy to follow, and I didn’t find it difficult which was beneficial to me, as I sometimes find certain warm ups really tough to synchronise with, when it comes to keeping up the pace of the movements, in time with the music.
It didn’t feel too bad going back too contemporary dance, even though we haven’t done it for so long I still feel familiar with the style, and I feel that it is quite similar to Jazz but more ballet like. I find that contemporary is calm but fast at pace, because the movements are calm, I don’t struggle to keep up with the pace of the movements as much as I did with most of our jazz warm ups / dances.
After doing our warm up routine and stretches, we changed the sessions focus on learning Triplets. I found the triplets to be very easy simple forms of movement, it was like doing a funny walk comprised of lunging and steps on a rise. I found picking up how to do them very quickly however when it came to doing them at speed I would mess them up often. In future as I practice them I will try doing them quicker until my brain has a muscle memory of doing them at a quickened pace.
We then went on to do another common physical theatre practice, doing shoal of fish. One new spin we did with shoal of fish was that you had to be tapped on the shoulder to become the leader, usually we do it whoever is at the front of the clump. This didn’t change much however this time doing shoal of fish we also added sounds which was an element that we haven’t explored before. We then went on to play an imitation game, we got split into two separate groups and we had to communicate without using words, it was really crazy and everyone went very primal like monkeys, what I got from it is how much words make people act in a civil manner, also how much of an effect speaking actually has when it isn’t just noises. When doing this I felt really open like there was more range to express myself I didn’t feel constricted to be myself .I found it to be really freeing to be set lose and allowed to act Crazy. However the whole point of the game was to communicate with each other, I felt like sometimes we would forget that and just go crazy rather than trying to go somewhere quite civil with it. Mostly we ended up with a tug of war between Agression and being scared. I feel that in the future we should push to go elsewhere with the game.
(5/1/2019) Steve’s Movement Devising Session
Today’s session with Stevie had us learning the Dance Procdure / chance Movement Theory developed by Merce Cunningham .
The Chance Movement Theory consisted of a multiplex of Elements, these elements can be used to create movement or to develop it, Jumping, Turns, Balance, Gesture, travel.
These Are all components of movement that can be played / explored in a variety of ways. The next section looks at proxemics, Levels, Pathways, Direction, size, Personal space, General space.
The Proxemics help you to explore your space, Area and all the staging of your movement.
The third section then goes on to explore Dynamics, Unison, Action and Reaction, Cannon, contact, counterpoint, repetition. Dynamics help add a physical tone too your movement, and can help you to create visually stunning features within your movement, especially when working as an ensemble.
I Like how this Movement Theory breaks down movement into pieces, however I think that there are a couple of missing elements such as Speed and Tention, even maybe emotion.
Other than that I find that the breakdown of Elements to be extremely useful especially when used the right way like we did today in Steve’s session. We gave the different elements numbers and then rolled a dice to create a sequence of different elements, here were my results, 5 gesture, 2 jump, 1 travel, 2 jump, 5 gesture, 1 travel, you then have to do the same with proxemics, 2 pathways, 1 direction, 4 size
, 2 pathways, 5 personal space, 6 General space, and again with Dynamics, 3 Q and A, 4 counterpoint, 5 contact, 6 repetition, 2 cannon
3 Q and A.
The next step would to be too mix your results, for example I first rolled a 5 which was Gesture, then my first roll for proxemics was 2 for pathways. I Would then have to create a pathway with my gesture. This system has you adding layers upon your movement that you wouldn’t of even thought too do if it wasn’t randomly chanced.
I found that’s what I liked the most about this Theory’s process. It Got me to add new elements into other sections of movement that would then take the movement into a new direction. From this new direction of movement that you chance, you begin to form new ideas and it gives you freedom to not have to think what to do, all you have to do is think how to do it.
I found this process very engaging and it gave me tons of ideas that I could use to devise movement, it has a vast amount of freedom to it, that was nice to have as usually when I’m devising movement, I feel really pressured and intimidated. I will definitely use this Process of devising movement in future tasks to create movement.
(10/1/2019) Stevie’s Movement Devising Session
Last week we looked at Merce Cunninghams dance procdure / Chance Movement Theory.
This week we continued this strand of focus by furthering the dynamic within the movement. We did this by using different tentions, counter points. One challenge Me and Micah faced was having to incorporate an additional ensemble member.
Our Process of adding Jess into our piece actually helped us with our task of finding new dynamics. With an additional person it was easier to have a dynamic between levels and speeds as well as counter points, because there was another person to be in unison with, whilst the other remaining partner creates a counter point. That remaining partner can also start creating counterpoint speeds / tentions whilst you and your first partner create something else that counter acts their dynamic.
This helps create a living piece that has a wide range of dynamics, so much little opposing details, that make the piece feel like it’s a part of life caught in a bottle.
One thing we changed to our piece other than changes nessessery to involve the third person, was the Charlie’s angels gun gesture. We decided to turn it into something more abstract so that the movement could later be translated into any piece we might do in the future.
So far I have really enjoyed the process of this procdure by Cunningham, I find that it gets you creating some absolutely incredible looking visual pieces just out of movement. And the coolest part is that you develop these movements really quickly on the spot without much need to think.
Towards the end of our session, we looked at combining all of our partnered pieces into a devised group piece, together we all had input ideas to develop something new out of all the smaller pieces we had done.
At first the task seemed nearly impossible, however once we quickly figured out where we should all be placed, it became an easy task to come up with whose movements to use where.
Me, Micah and Grace were the ones who came up with a majority of the ideas for this group piece, we all had a similar mindset when it came to knowing what one another was visualising.
Me & Micah made use of at least three to four of our movements including the one we changed to be more abstract. We did it so it could be adaptable for such a task like this, which was in hindsight a good idea to listen to Stevie’s advice to make it more abstract, as it was useful within this task. Me & Micah also helped give the group ideas for dynamics such as using different tentions / speeds as well as levels.
In future I’m definitely going to use this procedure to devise movement as I’ve found it’s not only a very quick way to devise it, it’s actually effectively as well.
(10/1/2019) Stevie’s Movement Devising Session
(11/1/2019) Lucy’s Acting Session
In Lucy’s Session today we looked at trust exercises between ensemble members.
First exercise we did had us keeping a ball in the air whilst moving around the space. For some reason we were all Horribly bad at it, the task was simple, however we were all really uncoordinated as a team.
I found that one massive part of us not being coordinated with this task was because, people started focusing on questioning why we couldn’t keep it up for long, this resulted in too many people voicing their ideas on what we should do rather than simply just engaging with the activity.
Every time the ball fell Micah or Grace would come up with a new idea of how to improve, and it made me feel really dictated. Being commanded to do all different things frustrated me to the point of losing my temper. Somehow my outburst of anger managed to get everyone to just focus, and magically we were more coordinated, and we actually managed to achieve keeping the ball in the air for more than fifty touches.
Second exercise had us counting to three in partners, we would say one number each and keep looping from 1 to 3, believe it or not the exercise was actually quite hard as you would often goof up and break the loop. I felt like this exercise focused on having you truly listen and focus on what your partner is saying , it might also focus on helping you to keep a rhythm with your partner, as when you say lines to someone you get into a rhythm of beatpoints.
Third exercise was a trust lead.
In this exercise we took it in turns to lead each other around the room with our eyes closed.
I found that I was easily able to trust my partners within this exercise and didn’t mind when they whizzed me around the room at speed as I knew they wouldn’t let me run into anything. Weird thing about this exercise was, that you could feel when being lead near something, like you could feel the presence of the stuff near you, when being lead into a corner everything in your body feels like it’s more enclosed, it was really strange but cool that my body knew.
The Forth exercise was Co-operation runs.
This had us forming a line and running closed eyed at someone on the other side of the room. Now this sounds absolutely nuts! And it was, however you could see how people were really scared to commit, when I was the person having people run at me, I could see people slow down or have some sort of weird freakout. Only Nathan and myself would fully run head on. When I ran I felt a weird sensation telling me to slow down as I felt that person’s presence however I just pretended it was a wall I had to knock down. I did find it really interesting though how I knew/ could feel when I was close to someone.
Trust is a massive element in theatre, trust that a partner can be mature enough, trust that a partner knows what they are doing, trust that they know how to correctly hold you in a frantic lift. Trust is everywhere in everything you do within theatre, today doing these trust exercises was a reminder that we should take the time to learn and trust within each other.
17/1/2019 Frantic techniques
Today we worked with BA students Joe & Cam
Who have had first hand experience working with frantic assembly.
Personally I love how frantic’s work looks. I think it is super smart and amazingly visual, full with dynamic movement. However Learning their techniques for me comes as a massive struggle.
I find this because, firstly their ensemble workouts are count based games where you have to be completely in sync with the timing’s, I tend to struggle with this as my brain struggles to keep up with what’s going on.
Secondly I’m not the best at devising from Lifting/ contact with others. With devising you have to be comfortable coming up with movement sequences to create a scene. However I personally really struggle to feel comfortable working with other people so closely when being forced to just think of stuff on the spot, especially when going into new territory like Lifts.
Within our session with Joe & Cam we looked at Lifts & devising. One lift that we focused on alot was what I like to call the switch lift. This is where you wrap one arm around the waist of your partner and another one holding the top of their thigh. You then lift them up like a vertical plank and then put them back down for them to do the same to you.
This Lift was so visually cool but so challenging to do, for this lift I had Demi as a partner and I found lifting her was easy however she found it hard to lift me, I then got partnered with JP who I then struggled to lift. Whilst working with my partners I was very nervous as I felt very much out of control, your given the huge responsibility of taking care of your partner and when doing lifts like this, it’s hard not to think how terrible and awkward it would be if something did go wrong .
We then went on to Devising. The way we got taught devising today was by agreeing with a partner on a singular place, object, piece of food or something you love as stimulus to create movement. Me and JP chose America and we were then tasked to create a scene made from movements that can represent our chosen theme.
I found this task really hard as I’m not the best at creating movement involving contact. Me and JP struggled throughout to come up with ways to make movements that we felt worked, however some of the things we did come up with were quite inventive. We even managed to create famous landmarks like the statue of liberty, the empire state building, and the San Francisco Bridge. Our movements weren’t very advanced however they turned our piece into some what of a visual road trip.
The next step was to improvise text whilst running through the moves. I immediately started rambling on about all the places and landmarks we visited within our piece to coincide with the visual image of the tour around America that our movements created. This added so much more energy into our piece and turned it from a 2 to a 7, I would definitely say text was our saving grace.
JOE & CAM’S QUESTIONS
“In regards to devising how does frantic assembly’s process enable you to create work.”
For me frantic’s devising process kind of puts me on the spot and shouts at me to think, I always feel really pressured to do something amazing with movement, however I don’t feel I can quite get there.
Their Process is a simple one however I feel that your movement will only be as good as the connect you have when working with your partner, that being said, once a connection has been made magic starts to form out of just pure improvised movement, which is just awesome.
Text can take a piece from having very little context and very little energy to being full of context and full of energy.
Text can help you form new ideas and take you into new directions that you didn’t think of doing before.
Text can help you add juxtaposition, with text you can make an almost comical movement, into a serious dramatic piece.
(1/2/2019) Lucy’s Acting Session
Today with Lucy we focused on following Impulses. One exercise consisted on us waiting for a gut impulse and then following it, the exercise was lead by music.
Unlike everyone else, I found it hard to find a gut impulse as I felt that most of my impulses come from my head rather than my gut. Whilst everyone else was whizzing around the room, I was stood just waiting for an impulse for atleast 20mins. Eventually I had this strange feeling in my stomach and I took that as my gut impulse, it had alot of energy to it and I found myself really in tune with the Movements I randomly started doing.
Another exercise we did was what I call Dancing Numbers. This exercise had us following a person that shouts out a number, the person that shouted the number is then the leader, it was our task to imitate the leader. The number shouted triggers a certain song, some of the songs and leader responses were hallerious. Personally I’m not sure what I got out of this exercise other than paying close attention to other classmates and their movements but it was still fun.
Final exercise was the Iron Ball exercise.
You had to feel for this Iron ball feeling within your stomach and follow it, however I didn’t feel anything so I stood still for the whole exercise.
I think one reason for me not feeling it was because I didn’t believe it enough, but in my opinion this exercise was utterly made up crap.
Project Based Research
Pronoun
Pronoun is a play by Evan Placey about a girl who is trans-gendered called dean , the story revolves around the struggles that come with her being transgender , for her , her family , friends and her Ex lover Josh . Dean wants nothing more than to be seen as a boy by everyone, and for people to just accept her , Dean’s biggest wish is for everyone to accept that fact , however her family, especially her sister Dani , are finding it hard to adjust to Dean’s new outlook on her gender .
Dean’s Ex boyfriend Josh finds it particularly hard to deal with Dean’s decisions , as he still loves her even though she sees herself as a guy and wants to go through a procedure to become one.
Josh’s main struggle with Dean’s decisions isn’t the fact that she wants to be a guy or the fact she’s transgender , but her new found attitude and the way she treats everyone. Josh wants nothing but to have Dean back as either a friend or lover and for her to be happy. ~ Research pulled from, Placey, E (2014) Pronoun .
Characters
Dean ~ The main character/ is transgender and wants to have a procedure to become a guy / models themselves off James Dean / Josh’s Ex / Dani’s sister / friends with Kyle , Amy and Laura/ later gets back with Josh . (played by a female)
Josh ~ Dean’s Ex boyfriend/ Kyle’s best friend /friends with Amy and Laura /later becomes Deans boyfriend again.
Dani ~ Dean’s sister / wishes dean would stay her sister rather than become her brother / misses how things used to be with her family .
Ghost of (James dean) ~ Dean’s idol / lives within dean’s mind / wants to help dean find answers to some of her questions / only dean can see him / an Fairy godmother version of (james dean), a famous actor from the 1950s .
Mum ~ Dean and dani’s mum / finds it hard to face that dean’s no long gonna be her daughter but instead her son. (played by a male)
Dad ~ Dean and dani’s Dad (played by a female)
Kyle ~ Josh’s best friend / engaged to Amy / later marries Amy/ friends with Dean and Laura.
Amy ~ Dean’s and laura’s best friend / engaged to Kyle / later marries Kyle/ also friends with josh .
Laura ~ Dean’s and Amy’s friend / also friends with Josh and Kyle .
SMT ~ The Senior Management Team for Dean’s school / wants Dean to perform a speech / will do anything to please Ofsted .
Doctors (Monroe,Bogart,Brando) ~ Doctors that look like Marilyn Monroe , Humphrey Bogart , Marlon Brando / Dean’s representation of doctors just re-imagined as famous people from the 1950s.
Private Doctor ~ The Doctor Dean’s paying for her procedure.
~ Research pulled from, Placey, E (2014) Pronoun .
How did Evan Placey come up with Pronoun ?
Pronoun came together when the writer Evan Placey decided he wanted to write a play about a teenager who is transgender, he wanted to do this because he felt that being transgender has never really been discussed and has never been explored within plays before , Evan was open to the idea of bringing this non mainstream subject to the stage , so he began researching about transgender and the people who live with being transgendered.
whilst he spent time doing research Even started running workshops for young people, he also also did a workshop with one youth group in Ipswich which he would use to start discussing about his research and about the transgender subject , he would then begin attending a group set up for teenagers who are transgendered, the group was called Gendered Intelligence, each session would begin with something called a (pronoun circle) basically everyone within the group would stand in a circle and introduce themselves as well as state what pronoun they like to identify with . One of the boy’s stories inspired Evans creation of Dean , his main character within Pronoun.
Evan didn’t want his story to be about ‘coming out’ so he decided to make it about Dean’s decision to want to identify as a male rather than female , and how it effects not only her but everyone close to her , he also wanted to have the theme of love, especially teenage love, to run through his play .
Evan would often urge the directors of his play to direct the theme in a more expressive artistic way than more of an educational way , and wanted to focus more on the storytelling aspect than the actual education of transgender awareness because at the end of the day if the story is good the audience would connect more with the characters and pull more of the education from them , this would also help the audience connect with what the characters are going through so by the end thay would really be invested in Dean and josh and would fully want them to have a happy ending and be together .
~ Research pulled from, Placey, E (2014) Pronoun .
Evan Placey
Evan Placey is a canadian-british writer / playwright who graduated from McGill University , Central School of Speech and Drama, Royal Court Young Writers’ program and invitation Group.
Evan has worked alot with The National Theatre, he even teaches playwriting for them, in 2014 Evan worked with National Theatre Connections to create a play called Pronoun (a play about a Transgender male called Dean) .
As well as creating (Pronoun) Evan has also helped to create plays such as ( Girls like That) a play about a schoolgirl called Scarlett whose nudes get sent around. Scarlett then has to deal with the struggles of being exposed, the friends that she’s known since she was five who she thought would help support her, instead become her worst enemies. (Banana Boys) a play about being secretly gay and on a school football team. The play focuses its story on two boys called Calum and Cameron who start obsessing over an american girl group called Banana girls. (How Was It For You?) A play about the Olympics based on interviews from Londoners ( Suicide(s) in Vegas ) a dark comedy about two suicidal women who find each other randomly online and decide that they want to end it all, but not alone , so they go to Vegas together for a spectacular final destination . These are just a few of Evans plays , others include (Little Criminals) (Scan Artists) (Holloway Jones) (Mother of Him) and many more.
Research pulled from ~ The Agency,(2017) ~ Bloomsbury Publishing plc ,(2017) ~ Derby Theatre, (2015) ~ Knight Hall Agency Ltd, (unknown)
DNA
“DNA” is an award winning play written by British Playwright Dennis Kelly. The play is about a group of teenagers who end up getting themselves into a situation that places them way in over their heads, they then plan for a way to get out of their mess.
Their situation is bad (murdered your friend bad). This play is what happens when having fun with friends can get way out of hand, and reflects how we as people deal with….sticky situations.
The play first opened at The National Theatre in 2008 and has since been used to teach English literature.
(YouTube,BBC Teach,2016)
(YouTube,BBC Teach,2016)
Dennis Kelly
Dennis Kelly is a Tony award winning British playwright/writer/producer for theatre,TV and film. His work Includes DNA (play,2008) Matilda the Musical (theatre musical,2011) Pinocchio (play,2017) Osama the Hero (Play,2005) Utopia ( TV show,2013-2014) and quite a few more.
Dennis was born in 1970 and came from a London council estate in Barnet. In Dennis’s thirty’s he studied at Goldsmiths University of London in Drama & Theatre Arts.
(YouTube,Theatre503,2014)
(YouTube,BBCWritersroom,2015)
Comical Practitioners
As part of my role preparation as Kyle from pronoun, I have tasked myself to research comical Actors. My HND director Charity , has taken her selected scene from pronoun into a highly comedic direction. As an actor have taken initiative in researching into Comical Actors as a way to inspire me with ideas for my character. It also seems appropriate to research into comical actors for “DNA” with Sorcha , as it seems as though Sorcha wants me to go for a more comical route with my character in her scene as well.
Charlie Day
Charlie Day is a Actor/producer/writer and one of the main characters (Charlie) in “It’s Always Sunny In Philadelphia” a dark comedy about Five friends who own an Irish bar and their antics.
Charlie got his big break through in 2005 when a home video he shot with Glenn Howerton and Rob McElhenney, was pitched and then later adapted into the Hit TV show “It’s Always Sunny In Philadelphia” sky rocketing Charlie into acting /comical success.
One of charlie’s additional skills is one of a musician. Charlie can play both Guitar and piano, which isn’t surprising as both his parents taught music. Charlie even got his first agent through music, after performing a funny blues song he’d written at a cabaret night. He has also written songs featuring in “It’s Always Sunny In Philadelphia”
(YouTube,aymach10,2009)
Charlie’s Iconic Character…Charlie
(YouTube,Gage H.,2017)
Interviews
(YouTube, Jimmy Kimmel Live,2018)
(YouTube,First We Feast,2017)
(YouTube,WIRED,2018)
(YouTube,ScreenInvasion,2013)
(YouTube,Backstage,2009)
Seth Rogen
Seth Rogen Is a Jewish-Canadian Actor,Comedian and Writer, whose famously known for playing alongside James Franco in hit films such as “Pineapple Express” (2008) “This Is the End” (2013) “The Interview” (2014) , and first appeared with Franco in TV show “Freaks and Geeks”, He is also known for his Iconic laugh and voice.
Seth has also worked alongside a long list of other successful actors & actresses Including : Danny McBride, Jonah Hill, Michel Cera,Craig Robinson, Amber Heard, Joe Lo Truglio, Bill Hader , Christopher Mintz-Plasse , Dave Franco, Jay Baruchel , Paul Rudd , Rose Byrne , Zac Efron , Ike Barinholtz , Joseph Gordon-Levitt , Simon Pegg , Nick Frost, and many many many more.
Working with all these truly talented Artists Seth has been apart of films such as “Bad Neighbors” (2014) “Superbad” (2007) “Knocked Up”(2007) “50/50″(2011) The 40 Year Old Virgin (2005) The Green Hornet (2011) and has even had multiple voiced roles in films like “Kung fu Panda” (2008) “Paul” (2011) “Sausage Party”(2016) ” The Spiderwick Chronicles “(2008) “Monsters vs. Aliens” (2009) .
The Iconic Laugh
(YouTube,Below,2017)
Seth Rogen Movie Moments
(YouTube,THESSALONIAN31N,2017)
(YouTube,Leisa Woods-Davis,2013)
(YouTube,BestMoviesParts,2011)
(YouTube,Movieclips,2016)
Chriscollinscollabproject 