Wednesday 7 December 2011
Congratulations to Anna Simmonds
Anna has been a Windmill Young Actor for a number of years. More recently she worked with Home Acting Tuition. I am delighted to announce that Anna has now been signed by top children's agent, Michelle Kirby at Daisy and Dukes. Anna played the lead role in short film, 'Treasures' and has just been booked to appear on Holby City. Well done, Anna!
Sunday 4 December 2011
Calling All Parents
Calling All Parents,
Following the fantastic performance at The Windmill Theatre of ‘The Legacy of Fingerless Gloves’, The Windmill Young Actors would like to take this time to send an amazing offer your way.
As you already know, the fees for next term will be going up from £75 to £90 - which is still over 3 times cheaper than other youth theatres in Brighton. The concessionary rate will remain at £60. However, if you sign up before Friday 16th December, we are offering a special deal: you can pay for next term at the current term’s rates, saving you £15! That’s £75 or £60 concessions for the whole term – working out as about £3.50 an hour!
Remember that ‘The Windmill Young Actors’ will now run at two different times on a Saturday: 09.45 – 11.45 and 12.00 – 14.00. Spaces are limited this term as we’re only allowing a maximum of 25 per group. This is to ensure that every individual is given the detailed tuition they need. Do sign up this term to guarantee the discount and the spot. If there is a need then we will look to set up a further time later in the afternoon.
And don’t worry; it’s not the end of Captain Jeremiah Falcon III either. The story of the pirate Captain and his slaves was only the beginning of the creation of a new world. The next two terms will see this future world explored further in both groups. And of course, we’ll also be working closely on acting technique, including clowning and physical work, improvisation, text and more.
Tanushka and Ben will continue directing the groups with high professionalism whilst facilitating the great talents within the groups. Our aim is to create a performance for the May Brighton Fringe Festival that rivals that of adult professional performances during that time.
Email Cicely CTaylor@blatchingtonmill.org.uk or comment here for more information.
Yours Sincerely,
Ben and Tanushka
Location of The Windmill Young Actors:-
Blatchington Mill School
Go to the main reception, through the two sets of sliding doors and up the hill to the dance studio.
Following the fantastic performance at The Windmill Theatre of ‘The Legacy of Fingerless Gloves’, The Windmill Young Actors would like to take this time to send an amazing offer your way.
As you already know, the fees for next term will be going up from £75 to £90 - which is still over 3 times cheaper than other youth theatres in Brighton. The concessionary rate will remain at £60. However, if you sign up before Friday 16th December, we are offering a special deal: you can pay for next term at the current term’s rates, saving you £15! That’s £75 or £60 concessions for the whole term – working out as about £3.50 an hour!
Remember that ‘The Windmill Young Actors’ will now run at two different times on a Saturday: 09.45 – 11.45 and 12.00 – 14.00. Spaces are limited this term as we’re only allowing a maximum of 25 per group. This is to ensure that every individual is given the detailed tuition they need. Do sign up this term to guarantee the discount and the spot. If there is a need then we will look to set up a further time later in the afternoon.
And don’t worry; it’s not the end of Captain Jeremiah Falcon III either. The story of the pirate Captain and his slaves was only the beginning of the creation of a new world. The next two terms will see this future world explored further in both groups. And of course, we’ll also be working closely on acting technique, including clowning and physical work, improvisation, text and more.
Tanushka and Ben will continue directing the groups with high professionalism whilst facilitating the great talents within the groups. Our aim is to create a performance for the May Brighton Fringe Festival that rivals that of adult professional performances during that time.
Email Cicely CTaylor@blatchingtonmill.org.uk or comment here for more information.
Yours Sincerely,
Ben and Tanushka
Location of The Windmill Young Actors:-
Blatchington Mill School
Go to the main reception, through the two sets of sliding doors and up the hill to the dance studio.
Understudy Run December 10th Windmill Young Actors
Just a reminder that all understudies will be performing in the dance studio at 11.30 this coming Saturday. Parents are very welcome!
The Windmill Theatre Performance
A huge congratulation to all Windmill Young Actors for a fantastic and highly professional performance at The Windmill Theatre last night. I was hugely moved and immensely proud. I heard every un-micced word, every emotion, every character. They stood up and they excelled!
Each show with this group is more ambitious and every performer rises to the challenge time and time again. Tanushka and I are adamant that we treat these young kids as professionals. We set very high standards. We want to encourage hard work, commitment and ensemble, creating inspired work that will move, entertain and provoke an audience. Can that be done with a bunch of kids? Of course it can!
Last night proved that a group of 30 children aged 7 - 12, can create highly focused, highly professional theatre. And it was only the start!
'The Legacy of Fingerless Gloves' was an intense piece but the beginning of the creation of a new world. Next term will further develop a future where natural resources are running out and the young people are taking over. They have been left with a legacy, a disaster, a fallen and falling world.
What is to come and will they unite?
Each show with this group is more ambitious and every performer rises to the challenge time and time again. Tanushka and I are adamant that we treat these young kids as professionals. We set very high standards. We want to encourage hard work, commitment and ensemble, creating inspired work that will move, entertain and provoke an audience. Can that be done with a bunch of kids? Of course it can!
Last night proved that a group of 30 children aged 7 - 12, can create highly focused, highly professional theatre. And it was only the start!
'The Legacy of Fingerless Gloves' was an intense piece but the beginning of the creation of a new world. Next term will further develop a future where natural resources are running out and the young people are taking over. They have been left with a legacy, a disaster, a fallen and falling world.
What is to come and will they unite?
Monday 28 November 2011
The Ship by Millie-Mae Morris
Millie-May is one of our more experienced members of The Windmill Young Actors. After a recent session looking at characters and status on ships, Millie, aged 12, went home and wrote the following poem. Just one example of how this club is inspiring the people involved!
On a ship riding some waves,
A Ship's crew were working through the long day,
But then something horrible happened,
And their life was betrayed.
First their voices failed,
Their distant songs waving goodbye,
The things that they longed to say, long in the past,
The things that they longed to hear, way gone in the future.
And just as their first sense had fell beyond repair,
An eagle swooped over filling them with despair,
It took the last spark of light that kept them from falling,
And filled their treasured life with darkness and mourning,
They could no longer look out for the lands,
For now they could only see darkness around.
Then their sense of smell drifted away,
They could no longer smell the fresh sea air,
Their life was in tatters,
They no longer cared.
The seagulls screeching faded from their grasp,
The sound of the washing waves,
Died to the past.
Their sore bones dissolved into nothing,
And an evil puppeteer of the waves,
Picked them up and thought they were funny,
He wished them and washed them 'til the day's end,
When the poor ships crewmen could no longer bend.
Then a sweet voice willed them to the sea,
Persuading them to forget about their hard painful life,
And come to an end.
Now the ship has no crew,
Is no longer clean,
Is no longer new,
Is filled with grime and rats,
It's a bug's favourite habitat.
The ship slowly sinks to the bottom of the ocean with bore,
Without its crew.
The ship is a ship no more.
On a ship riding some waves,
A Ship's crew were working through the long day,
But then something horrible happened,
And their life was betrayed.
First their voices failed,
Their distant songs waving goodbye,
The things that they longed to say, long in the past,
The things that they longed to hear, way gone in the future.
And just as their first sense had fell beyond repair,
An eagle swooped over filling them with despair,
It took the last spark of light that kept them from falling,
And filled their treasured life with darkness and mourning,
They could no longer look out for the lands,
For now they could only see darkness around.
Then their sense of smell drifted away,
They could no longer smell the fresh sea air,
Their life was in tatters,
They no longer cared.
The seagulls screeching faded from their grasp,
The sound of the washing waves,
Died to the past.
Their sore bones dissolved into nothing,
And an evil puppeteer of the waves,
Picked them up and thought they were funny,
He wished them and washed them 'til the day's end,
When the poor ships crewmen could no longer bend.
Then a sweet voice willed them to the sea,
Persuading them to forget about their hard painful life,
And come to an end.
Now the ship has no crew,
Is no longer clean,
Is no longer new,
Is filled with grime and rats,
It's a bug's favourite habitat.
The ship slowly sinks to the bottom of the ocean with bore,
Without its crew.
The ship is a ship no more.
December 3rd The Windmill Young Actors Perform
Dear Parents,
These are the details for this coming Saturday 3rd December.
10.00 – 12.00 Tech and Dress Rehearsal Windmill Theatre, NOT Dance Studio. Please can you all be OFF BOOK, having practiced and learnt your lines.
18.00 – 18.30 Arrival at Windmill Theatre for registration
18.30 Doors Open
19.00 – 21.30 Performance (acting club will be in the first half)
Costume
Please can all members bring a black top and black trousers. If you have them, please bring a coloured or plain head scarf/bandana.
*Blacks are an excellent investment for your child if they are involved in any type of performance as they will used frequently.*
Swan will be wearing ALL WHITE.
Captain Jeremiah Falcon can wear appropriate clothing for a pirate Captain. Preferably black under a dash of colour.
Reporters please bring a tie.
Understudies
Please can all understudies make sure that you have learnt your lines and are ready to step into the role if required.
Thanks very much. We’re really looking forward to what will be a great showcase of The Windmill Young Actors.
Any questions about the performance itself, please email benmurraywatson@gmail.com
Yours Sincerely,
Ben and Tanushka.
These are the details for this coming Saturday 3rd December.
10.00 – 12.00 Tech and Dress Rehearsal Windmill Theatre, NOT Dance Studio. Please can you all be OFF BOOK, having practiced and learnt your lines.
18.00 – 18.30 Arrival at Windmill Theatre for registration
18.30 Doors Open
19.00 – 21.30 Performance (acting club will be in the first half)
Costume
Please can all members bring a black top and black trousers. If you have them, please bring a coloured or plain head scarf/bandana.
*Blacks are an excellent investment for your child if they are involved in any type of performance as they will used frequently.*
Swan will be wearing ALL WHITE.
Captain Jeremiah Falcon can wear appropriate clothing for a pirate Captain. Preferably black under a dash of colour.
Reporters please bring a tie.
Understudies
Please can all understudies make sure that you have learnt your lines and are ready to step into the role if required.
Thanks very much. We’re really looking forward to what will be a great showcase of The Windmill Young Actors.
Any questions about the performance itself, please email benmurraywatson@gmail.com
Yours Sincerely,
Ben and Tanushka.
WEEKLY PERFORMING ARTS CLASSES AT BLATCHINGTON MILL SCHOOL!
WEEKLY PERFORMING ARTS CLASSES AT BLATCHINGTON MILL SCHOOL!
Enjoy singing, acting, drumming or rock music? Then read below to find out how to sign up for a FREE taster session!
BIG MOUTH SINGERS
A fun and friendly adults’ community choir which is open to all: beginners welcome! A great way to learn modern and traditional songs from around the world, vocal techniques and warm-ups, directed by Siggi Mwasote and Cicely Taylor, plus visits from guest tutors. Over the year, choir members are offered the chance to perform in the Windmill Theatre, Brighton Dome & more! Participants say: “It’s all been fabulous! Have learnt some new songs & met some lovely people”
Time: Mondays 4.30pm – 5.45pm
Venue: Blatchington Mill School Drama Studio C1
Term dates: 09/01/12 – 26/03/12 (no sessions during Half Term)
Fee: First session FREE, thereafter £40.00 or £25.00 concessions per term *
Directions to Room C1: Use the Nevill Avenue entrance to the school. You can park in the first car park you come to, then walk up the ramp through the double red doors into the entrance to the Performing Arts block. For Room C1, go immediately right through a set of double doors and C1 is first on your left.
*NB If preferred, you may pay for your course in instalments by sending a number of post-dated cheques for the term.
LITTLE MOUTH CHOIR
A fantastically fun children’s choir! Come and sing along to your favourite songs with our friendly tutors Gemma Routledge and Sarah Gardner. Over the year, choir members get the chance to perform in the Windmill Theatre, Brighton Dome, and more Past performances include performing at the ‘Choir of the Year’ finals at the Royal Festival Hall. The choir runs at the same time as the adults’ choir, Big Mouth, so parents and carers can take part too, if they wish. Participants say: “Little Mouth is the best choir I’ve ever been to!”
Minimum age: 7 years
Time: Mondays 4.30pm – 5.45pm
Venue: Blatchington Mill School Music Room C17
Term dates: 09/01/12 – 26/03/12 (no sessions during Half Term)
Fee: First session FREE, thereafter £40.00 or £25.00 concessions per term *
Directions to Room C17: Use the Nevill Avenue entrance to the school. You can park in the first car park you come to, then walk up the ramp through the double red doors into the entrance to the Performing Arts block. For Room C17, go immediately up the stairs on the left, then turn left, got through a set of double doors and C17 is on your right.
*NB If preferred, you may pay for your course in instalments by sending a number of post-dated cheques for the term.
STEEL PAN DRUMMING
A fantastic opportunity to join a Steel band, playing traditional Caribbean drums with Helen Longton-Howarth from ‘Sounds of Steel’. Learning traditional melodies and modern pop songs, the group will perform at events in the Windmill Theatre, Brighton Dome and more! Participants say: “I’m really enjoying it! I love the music, I’m making new friends and it’s exciting”
Minimum age: 7 years
Time: Wednesdays 5.00pm – 6.00pm
Venue: Somerhill Junior School, Somerhill Road, Hove BN3 1RP
Term dates: 11/01/12 – 28/03/12 (no sessions during Half Term)
Fee: First session FREE, thereafter £40.00 or £25.00 concessions per term *
Directions: Link to map of Somerhill School: http://maps.google.co.uk/maps?hl=en&tab=wl
*NB If preferred, you may pay for your course in instalments by sending a number of post-dated cheques for the term.
ACTING CLUB: THE WINDMILL YOUNG ACTORS
Discover Drama in a fun and exciting way at the Blatchington Mill School Saturday Acting Club ‘Windmill Young Actors’. Discover the world of creative drama with performing arts professionals Tanushka Marah and Ben Murray-Watson to discover different characters from a range of plays, working with costume, mime and mask. Explore techniques of improvisation, physical theatre, stage fighting and clowning, working together to develop a piece to perform at the end of term. Previous performances have been at The Windmill Theatre, Brighton Dome and as part of Brighton Festival. Participants say: “It is phenomenal!”
Minimum age: 7 years
Day: Saturdays
Timeslots: 9.45am – 11.45am OR 12.00pm – 2.00pm
Venue: Blatchington Mill School Dance Studio M32
Term dates: 07/01/12 – 24/03/12 (no sessions either side of Half Term)
Fee: First session FREE, thereafter £90.00 or £60.00 concessions per term *
Directions: From the Nevill Avenue entrance, you can park in the first car park you come to, then walk up the ramp through the double red doors into the entrance to the Performing Arts block. Walk across the Foyer, and go outside via the white sliding doors. Look diagonally to your left and the Dance Studio M32 is the first brick building on the left, next to two green teaching huts.
*NB If preferred, you may pay for your course in instalments by sending a number of post-dated cheques for the term.
ROCK BAND SESSIONS
Band sessions designed for young people who already have experience of playing an instrument: singers welcome! Learn to play in a band, develop musicianship, record a demo CD, and work towards live performances. The sessions are run in conjunction with the ‘Teenspirit’ project. Participants say: “Fun and exciting!”… “I’ve enjoyed learning to play in a band”
Minimum age: 9 years
Venue: Music Department at Blatchington Mill School
Time slots: Wednesdays 4.00pm – 5.00pm; 5.00pm – 6.00pm OR 6.00pm – 7.00pm and Saturdays 9.00am – 10.00am; 10.15am – 11.15am OR 11.30am – 12.30pm and
Term dates: (no sessions either side of Half Term)
Fee: First session FREE, thereafter £90.00 or £60.00 concessions per term *
Directions to BMS Music Department: Use the Nevill Avenue entrance to the school. You can park in the first car park you come to, then walk up the ramp through the double red doors into the entrance to the Performing Arts block. For C15 go up the stairs on the left, then turn right. For the Music Basement go down the stairs to your left.
*NB If preferred, you may pay for your course in instalments by sending a number of post-dated cheques for the term.
For an application form, more information, or to sign up for a FREE taster session please contact: ctaylor@blatchingtonmill.org.uk
Cicely Taylor, Community Arts, Blatchington Mill School, Nevill Ave, Hove, BN3 7BW
T: 01273 221229 ~ M: 07970 212933 ~ E: ctaylor@blatchingtonmill.org.uk
Enjoy singing, acting, drumming or rock music? Then read below to find out how to sign up for a FREE taster session!
BIG MOUTH SINGERS
A fun and friendly adults’ community choir which is open to all: beginners welcome! A great way to learn modern and traditional songs from around the world, vocal techniques and warm-ups, directed by Siggi Mwasote and Cicely Taylor, plus visits from guest tutors. Over the year, choir members are offered the chance to perform in the Windmill Theatre, Brighton Dome & more! Participants say: “It’s all been fabulous! Have learnt some new songs & met some lovely people”
Time: Mondays 4.30pm – 5.45pm
Venue: Blatchington Mill School Drama Studio C1
Term dates: 09/01/12 – 26/03/12 (no sessions during Half Term)
Fee: First session FREE, thereafter £40.00 or £25.00 concessions per term *
Directions to Room C1: Use the Nevill Avenue entrance to the school. You can park in the first car park you come to, then walk up the ramp through the double red doors into the entrance to the Performing Arts block. For Room C1, go immediately right through a set of double doors and C1 is first on your left.
*NB If preferred, you may pay for your course in instalments by sending a number of post-dated cheques for the term.
LITTLE MOUTH CHOIR
A fantastically fun children’s choir! Come and sing along to your favourite songs with our friendly tutors Gemma Routledge and Sarah Gardner. Over the year, choir members get the chance to perform in the Windmill Theatre, Brighton Dome, and more Past performances include performing at the ‘Choir of the Year’ finals at the Royal Festival Hall. The choir runs at the same time as the adults’ choir, Big Mouth, so parents and carers can take part too, if they wish. Participants say: “Little Mouth is the best choir I’ve ever been to!”
Minimum age: 7 years
Time: Mondays 4.30pm – 5.45pm
Venue: Blatchington Mill School Music Room C17
Term dates: 09/01/12 – 26/03/12 (no sessions during Half Term)
Fee: First session FREE, thereafter £40.00 or £25.00 concessions per term *
Directions to Room C17: Use the Nevill Avenue entrance to the school. You can park in the first car park you come to, then walk up the ramp through the double red doors into the entrance to the Performing Arts block. For Room C17, go immediately up the stairs on the left, then turn left, got through a set of double doors and C17 is on your right.
*NB If preferred, you may pay for your course in instalments by sending a number of post-dated cheques for the term.
STEEL PAN DRUMMING
A fantastic opportunity to join a Steel band, playing traditional Caribbean drums with Helen Longton-Howarth from ‘Sounds of Steel’. Learning traditional melodies and modern pop songs, the group will perform at events in the Windmill Theatre, Brighton Dome and more! Participants say: “I’m really enjoying it! I love the music, I’m making new friends and it’s exciting”
Minimum age: 7 years
Time: Wednesdays 5.00pm – 6.00pm
Venue: Somerhill Junior School, Somerhill Road, Hove BN3 1RP
Term dates: 11/01/12 – 28/03/12 (no sessions during Half Term)
Fee: First session FREE, thereafter £40.00 or £25.00 concessions per term *
Directions: Link to map of Somerhill School: http://maps.google.co.uk/maps?hl=en&tab=wl
*NB If preferred, you may pay for your course in instalments by sending a number of post-dated cheques for the term.
ACTING CLUB: THE WINDMILL YOUNG ACTORS
Discover Drama in a fun and exciting way at the Blatchington Mill School Saturday Acting Club ‘Windmill Young Actors’. Discover the world of creative drama with performing arts professionals Tanushka Marah and Ben Murray-Watson to discover different characters from a range of plays, working with costume, mime and mask. Explore techniques of improvisation, physical theatre, stage fighting and clowning, working together to develop a piece to perform at the end of term. Previous performances have been at The Windmill Theatre, Brighton Dome and as part of Brighton Festival. Participants say: “It is phenomenal!”
Minimum age: 7 years
Day: Saturdays
Timeslots: 9.45am – 11.45am OR 12.00pm – 2.00pm
Venue: Blatchington Mill School Dance Studio M32
Term dates: 07/01/12 – 24/03/12 (no sessions either side of Half Term)
Fee: First session FREE, thereafter £90.00 or £60.00 concessions per term *
Directions: From the Nevill Avenue entrance, you can park in the first car park you come to, then walk up the ramp through the double red doors into the entrance to the Performing Arts block. Walk across the Foyer, and go outside via the white sliding doors. Look diagonally to your left and the Dance Studio M32 is the first brick building on the left, next to two green teaching huts.
*NB If preferred, you may pay for your course in instalments by sending a number of post-dated cheques for the term.
ROCK BAND SESSIONS
Band sessions designed for young people who already have experience of playing an instrument: singers welcome! Learn to play in a band, develop musicianship, record a demo CD, and work towards live performances. The sessions are run in conjunction with the ‘Teenspirit’ project. Participants say: “Fun and exciting!”… “I’ve enjoyed learning to play in a band”
Minimum age: 9 years
Venue: Music Department at Blatchington Mill School
Time slots: Wednesdays 4.00pm – 5.00pm; 5.00pm – 6.00pm OR 6.00pm – 7.00pm and Saturdays 9.00am – 10.00am; 10.15am – 11.15am OR 11.30am – 12.30pm and
Term dates: (no sessions either side of Half Term)
Fee: First session FREE, thereafter £90.00 or £60.00 concessions per term *
Directions to BMS Music Department: Use the Nevill Avenue entrance to the school. You can park in the first car park you come to, then walk up the ramp through the double red doors into the entrance to the Performing Arts block. For C15 go up the stairs on the left, then turn right. For the Music Basement go down the stairs to your left.
*NB If preferred, you may pay for your course in instalments by sending a number of post-dated cheques for the term.
For an application form, more information, or to sign up for a FREE taster session please contact: ctaylor@blatchingtonmill.org.uk
Cicely Taylor, Community Arts, Blatchington Mill School, Nevill Ave, Hove, BN3 7BW
T: 01273 221229 ~ M: 07970 212933 ~ E: ctaylor@blatchingtonmill.org.uk
Monday 21 November 2011
Changing Our Name
I am delighted to announce that The Blatchington Saturday Acting Club will now be called, 'The Windmill Young Actors'.
Saturday 19th Of Casting and Blocking
Jane was standing in for Tanushka whose show in London approached production week.
With the script in decent shape it was time to start casting the actors and their understudies before moving on to block out the performance.
Casting is always a tricky process when working with young actors. However, Tanushka and I have championed professionalism at every stage and we make it clear to the students the reasons why we make choices in the ways that we do.
In general, we look at how students have responded to work during the term and whether or not they are both ready and able to take on a principle role in performance. We try not to cast the same people but will look to encourage new actors with a role suitable to their commitment to the work. Having said this, our priority is always to tell the story in the best possible way with the best possible actors. It has been particularly hard for new members this term who have started in the last couple of weeks. They have had to be fully immersed in the often stressful and hard working environment of rehearsing for a show. It is my hope that this will be a taster of what can be achieved when we work together as an ensemble supporting each other wholeheartedly with respect and loyalty.
Blocking 30 students in a piece involving large ensemble moments coupled with individual pieces of text and character is always difficult. Similarly, those playing ensemble roles often feel like they are missing out. Having said that, we say time and time again that ensemble is key to great work. Without it, the principles would not be able to do their job. It is also a vital thing to learn that in this profession you will often have to play small roles before being trusted with larger ones.
With actors and understudies set we began to create.
Two teams of slaves rowed violently under duress,
The drummer beat time,
Captain Falcon, charged with power, tore into those unworthy,
But so often in war, there is little time.
And as the cries rang out, the enemy crept closer.
With a shout, Lewes and Portslade, fighters akin,
Swept them away from port and star,
Fists flew, death, broken bones aplenty.
And the drummer drummed his knell.
Or put simply, we blocked the first two scenes!
With the script in decent shape it was time to start casting the actors and their understudies before moving on to block out the performance.
Casting is always a tricky process when working with young actors. However, Tanushka and I have championed professionalism at every stage and we make it clear to the students the reasons why we make choices in the ways that we do.
In general, we look at how students have responded to work during the term and whether or not they are both ready and able to take on a principle role in performance. We try not to cast the same people but will look to encourage new actors with a role suitable to their commitment to the work. Having said this, our priority is always to tell the story in the best possible way with the best possible actors. It has been particularly hard for new members this term who have started in the last couple of weeks. They have had to be fully immersed in the often stressful and hard working environment of rehearsing for a show. It is my hope that this will be a taster of what can be achieved when we work together as an ensemble supporting each other wholeheartedly with respect and loyalty.
Blocking 30 students in a piece involving large ensemble moments coupled with individual pieces of text and character is always difficult. Similarly, those playing ensemble roles often feel like they are missing out. Having said that, we say time and time again that ensemble is key to great work. Without it, the principles would not be able to do their job. It is also a vital thing to learn that in this profession you will often have to play small roles before being trusted with larger ones.
With actors and understudies set we began to create.
Two teams of slaves rowed violently under duress,
The drummer beat time,
Captain Falcon, charged with power, tore into those unworthy,
But so often in war, there is little time.
And as the cries rang out, the enemy crept closer.
With a shout, Lewes and Portslade, fighters akin,
Swept them away from port and star,
Fists flew, death, broken bones aplenty.
And the drummer drummed his knell.
Or put simply, we blocked the first two scenes!
Saturday 12th November Of The Legacy of Fingerless Gloves
Jane Lesley was once again helping out this week as Tanushka was away directing a show in London.
Last term I wrote a script for Acting Club entitled 'What's News'. We performed this twice, once at the Brighton Dome Family Festival and once in The Windmill Theatre at Blatchington. It was fascinating and moving to see the group pull together, supporting each other and playing every role, ensemble or principle, as understudy or lead, with the greatest of commitment and skill.
It was time to approach the challenge once more.
As discussed in earlier posts we have done quite a bit of work on discovering the world of an age old 'ship' - looking at characters, scenarios and character 'types'. It made sense to keep to this theme and so I have written a piece exploring the life of those on a ship in a future devoid of hope. Fun times!
It is 2112. Natural resources are running out. America has gone black due to increased and consistent attacks by terrorist organisations. India and Russia have been selling their resources at higher and higher prices. The economy has fallen apart and all sense of hope for the world seems lost. All trust and respect has vanished for the 'adult' government and young people are taking over. We join the story with the announcement that India and Russia are closing their borders and will no longer provide countries like the UK with the resources that they need. A BBC reporter announces that the UK is finally going black and that what little remaining hope is left purely in the hands of the young.
I'm still working on how to make this whole world seem more of a possibility but my idea is that this term we begin to build a sense of this dystopian future that centres on the people and the relationships.
Pirates fight for every last scrap of natural resource. Captain Jeremiah Falcon III leads one of the fastest and most powerful ships on the high sea. But something is coming. A ship of black oily sails has been sighted and is casting fear into the hearts of all. Slaves cry at the whip of their Captain and power grapples for his soul. What will it take to change his heart and help him unite all in one final struggle for humanity?
Last term I wrote a script for Acting Club entitled 'What's News'. We performed this twice, once at the Brighton Dome Family Festival and once in The Windmill Theatre at Blatchington. It was fascinating and moving to see the group pull together, supporting each other and playing every role, ensemble or principle, as understudy or lead, with the greatest of commitment and skill.
It was time to approach the challenge once more.
As discussed in earlier posts we have done quite a bit of work on discovering the world of an age old 'ship' - looking at characters, scenarios and character 'types'. It made sense to keep to this theme and so I have written a piece exploring the life of those on a ship in a future devoid of hope. Fun times!
It is 2112. Natural resources are running out. America has gone black due to increased and consistent attacks by terrorist organisations. India and Russia have been selling their resources at higher and higher prices. The economy has fallen apart and all sense of hope for the world seems lost. All trust and respect has vanished for the 'adult' government and young people are taking over. We join the story with the announcement that India and Russia are closing their borders and will no longer provide countries like the UK with the resources that they need. A BBC reporter announces that the UK is finally going black and that what little remaining hope is left purely in the hands of the young.
I'm still working on how to make this whole world seem more of a possibility but my idea is that this term we begin to build a sense of this dystopian future that centres on the people and the relationships.
Pirates fight for every last scrap of natural resource. Captain Jeremiah Falcon III leads one of the fastest and most powerful ships on the high sea. But something is coming. A ship of black oily sails has been sighted and is casting fear into the hearts of all. Slaves cry at the whip of their Captain and power grapples for his soul. What will it take to change his heart and help him unite all in one final struggle for humanity?
Thursday 10 November 2011
Growing Pains - Windmill Young Actors
As any venture grows it becomes essential to continually return to the vision of that venture so as not to lose sight of why you started in the first place. So here's a reminder -
Windmill Young Actors celebrates collaborative and ensemble work in all its forms. Coming from extremely diverse backgrounds, professional director, writer and actor, Ben Murray-Watson and award winning theatre director and actor Tanushka Marah, bring to Acting Club a fantastic mixture of international physical and text based methods. We see everyone who comes to us as 'a young actor' and so aim to give a professional and creative experience to all. We believe that through structured rehearsal and team work, a young ensemble can create thought-provoking, exciting and passionate performance suitable for everyone. Whether it is to improve skills or to increase confidence, Windmill Young Actors will inspire wonderfully rounded, centred and focused young performers. Through the group experience of creating unique pieces of theatre we aim to equip the next generation of performers with the tools to express themselves both freely and imaginatively.
And so the question becomes, how do we fulfil vision as we grow?
One of the hardest things that all directors and a lot of teachers struggle with is how to give the very best individual tuition whilst keeping the ensemble working together as one. It is vital when working with young actors to embrace their natural skill whilst stoking further desire for development and challenge.
It is a wonderful problem that so many people want to join Windmill Young Actors but in order to keep the vision strong we need to develop as a youth theatre. Whether this means we split into two groups on a Saturday is unclear. However, the point remains that if the students aren't feeling as involved as they want, as challenged as they need and as empowered as is core to what we teach, then we need to look closely at how to move forward. I have outlined three things below on how I believe we are to grow whilst keeping vision a priority:-
1) Focus on the individual
Every young performer has a unique style and skill level. In order to both embrace that style and improve that skill level, a certain amount of attention must be given to that individual. They must be given the opportunity to explore, develop and fail. I talk of failing in this context as being given a second chance. As actors, one of the greatest assets of training is being given the space to try out new things in a safe and non-judgemental environment. For children, this becomes hugely beneficial for their entire development. They can then quickly ascertain their own skill level, where they need to work hard and also what they enjoy. If we lose the ability to give attention to each member uniquely then we lose the opportunity for that individual to reach their fullest potential. As the group gets bigger it becomes harder for the directors to give that vital detailed individual tuition.
Therefore, options could be that the group splits into two or that more advanced members of the club take on leadership positions.
2) Focus on the ensemble/community
If individuals feel valued then they will naturally give back to the community within which they are working. If individuals feel empowered then they will lead within the ensemble. But it is important to maintain an overall structure and discipline within the group. We need to consistently go back to vision, go back to the why. We aren't simply working towards nice little, slightly embarrassing performances, we are working towards professional level production. The group must feel that it is working towards the same endgame and working well together. A wonderful example of this was when Anna Simmonds recently got cast in Attercop Films short film, 'Treasures' which I wrote and directed. Other members of Windmill Young Actors fully supported and celebrated her. This profession becomes so much more manageable and enjoyable when we are happy to work as a mutually supportive team. Keeping this sense of ensemble and community is vital to sustained and healthy growth.
As of next term we will need to begin to create a larger sense of identity for the youth theatre.
3) Focus on showcase
If we stay locked in our own little world within Windmill Young Actors then we will become stifled. By taking skills and performances out into the world, we create further challenge. We put ourselves in an environment to be criticised or applauded. At a young age it is vital to understand that this is a difficult and highly critical profession. You need only look at Frankie Cocozza on 'X-Factor' this week to see that performance at the highest level is hard. If we are to create well rounded, experienced and strong spirited performers then we need to embrace the idea of taking our work into the wider world.
Tanushka and I are constantly looking at how this is to be done but realise we have more to do.
By empowering the individual in a supportive and creative ensemble we will hope to establish a model for sustained healthy growth where all involved are challenged, develop well and have fun.
Windmill Young Actors celebrates collaborative and ensemble work in all its forms. Coming from extremely diverse backgrounds, professional director, writer and actor, Ben Murray-Watson and award winning theatre director and actor Tanushka Marah, bring to Acting Club a fantastic mixture of international physical and text based methods. We see everyone who comes to us as 'a young actor' and so aim to give a professional and creative experience to all. We believe that through structured rehearsal and team work, a young ensemble can create thought-provoking, exciting and passionate performance suitable for everyone. Whether it is to improve skills or to increase confidence, Windmill Young Actors will inspire wonderfully rounded, centred and focused young performers. Through the group experience of creating unique pieces of theatre we aim to equip the next generation of performers with the tools to express themselves both freely and imaginatively.
And so the question becomes, how do we fulfil vision as we grow?
One of the hardest things that all directors and a lot of teachers struggle with is how to give the very best individual tuition whilst keeping the ensemble working together as one. It is vital when working with young actors to embrace their natural skill whilst stoking further desire for development and challenge.
It is a wonderful problem that so many people want to join Windmill Young Actors but in order to keep the vision strong we need to develop as a youth theatre. Whether this means we split into two groups on a Saturday is unclear. However, the point remains that if the students aren't feeling as involved as they want, as challenged as they need and as empowered as is core to what we teach, then we need to look closely at how to move forward. I have outlined three things below on how I believe we are to grow whilst keeping vision a priority:-
1) Focus on the individual
Every young performer has a unique style and skill level. In order to both embrace that style and improve that skill level, a certain amount of attention must be given to that individual. They must be given the opportunity to explore, develop and fail. I talk of failing in this context as being given a second chance. As actors, one of the greatest assets of training is being given the space to try out new things in a safe and non-judgemental environment. For children, this becomes hugely beneficial for their entire development. They can then quickly ascertain their own skill level, where they need to work hard and also what they enjoy. If we lose the ability to give attention to each member uniquely then we lose the opportunity for that individual to reach their fullest potential. As the group gets bigger it becomes harder for the directors to give that vital detailed individual tuition.
Therefore, options could be that the group splits into two or that more advanced members of the club take on leadership positions.
2) Focus on the ensemble/community
If individuals feel valued then they will naturally give back to the community within which they are working. If individuals feel empowered then they will lead within the ensemble. But it is important to maintain an overall structure and discipline within the group. We need to consistently go back to vision, go back to the why. We aren't simply working towards nice little, slightly embarrassing performances, we are working towards professional level production. The group must feel that it is working towards the same endgame and working well together. A wonderful example of this was when Anna Simmonds recently got cast in Attercop Films short film, 'Treasures' which I wrote and directed. Other members of Windmill Young Actors fully supported and celebrated her. This profession becomes so much more manageable and enjoyable when we are happy to work as a mutually supportive team. Keeping this sense of ensemble and community is vital to sustained and healthy growth.
As of next term we will need to begin to create a larger sense of identity for the youth theatre.
3) Focus on showcase
If we stay locked in our own little world within Windmill Young Actors then we will become stifled. By taking skills and performances out into the world, we create further challenge. We put ourselves in an environment to be criticised or applauded. At a young age it is vital to understand that this is a difficult and highly critical profession. You need only look at Frankie Cocozza on 'X-Factor' this week to see that performance at the highest level is hard. If we are to create well rounded, experienced and strong spirited performers then we need to embrace the idea of taking our work into the wider world.
Tanushka and I are constantly looking at how this is to be done but realise we have more to do.
By empowering the individual in a supportive and creative ensemble we will hope to establish a model for sustained healthy growth where all involved are challenged, develop well and have fun.
Saturday 5th November Of Focus and Slavery
Having been away for half term it was a real privilege to get back into training with the Acting Club students.
Something must be going around because we have literally tripled in number this term and now stand at the heady heights of 35 students.
With a performance lined up for 3rd December, brains came together to begin creating something worth its salt. However, with new players joining every week it was important to initially go back to basics.
Tanushka lead some games and warm ups but then we moved quickly into some focus exercises. We talk a lot about finding a 'neutral' position as an actor. This isn't a place of laziness but rather a place of spring-like readiness. The whole body is relaxed, upright and we are 'leading' from our centre. Shoulders are relaxed and heads upright, eyes fixed ahead. The actor is ready. At Acting Club we do a lot of work on focus and finding that 'neutral' position. Tanushka and I are firm believers that once we have a firm and natural understanding of 'neutral' then anything becomes possible. Furthermore, there is little chance for young people to actually train in focus. In so doing, the performers are not only learning where to begin as actors but also learning valuable skills to take with them into the classroom and their social lives.
Once more I was astounded by the level that this group work at. Over thirty 7 - 12 year olds, standing in a straight line, in silence, focused purely on slow precise movement. Even more interesting was some of the feedback. Some students remarked how they had felt in a bit of a trance. They had felt ready to do anything. This is the state that actors need to be in on stage - reacting purely to the moment, the truth of the situation.
This work is absolutely vital in establishing a foundation from which to create work. Not only that, but it establishes ensemble and commitment to working in a large group with limited room at a professional level.
Following on from this, we began looking at our ship. How could we create a strong piece of theatre with so many people?
We began building a movement piece based on the old slave ships, where the slaves would sit chained together, rowing in tandem with their masters cracking the whip. We managed to establish some wonderful synced movement in two teams where they chanted and rowed together as one. A really positive start to creating a final end of term piece.
I can't wait to see what they come up with next.
Something must be going around because we have literally tripled in number this term and now stand at the heady heights of 35 students.
With a performance lined up for 3rd December, brains came together to begin creating something worth its salt. However, with new players joining every week it was important to initially go back to basics.
Tanushka lead some games and warm ups but then we moved quickly into some focus exercises. We talk a lot about finding a 'neutral' position as an actor. This isn't a place of laziness but rather a place of spring-like readiness. The whole body is relaxed, upright and we are 'leading' from our centre. Shoulders are relaxed and heads upright, eyes fixed ahead. The actor is ready. At Acting Club we do a lot of work on focus and finding that 'neutral' position. Tanushka and I are firm believers that once we have a firm and natural understanding of 'neutral' then anything becomes possible. Furthermore, there is little chance for young people to actually train in focus. In so doing, the performers are not only learning where to begin as actors but also learning valuable skills to take with them into the classroom and their social lives.
Once more I was astounded by the level that this group work at. Over thirty 7 - 12 year olds, standing in a straight line, in silence, focused purely on slow precise movement. Even more interesting was some of the feedback. Some students remarked how they had felt in a bit of a trance. They had felt ready to do anything. This is the state that actors need to be in on stage - reacting purely to the moment, the truth of the situation.
This work is absolutely vital in establishing a foundation from which to create work. Not only that, but it establishes ensemble and commitment to working in a large group with limited room at a professional level.
Following on from this, we began looking at our ship. How could we create a strong piece of theatre with so many people?
We began building a movement piece based on the old slave ships, where the slaves would sit chained together, rowing in tandem with their masters cracking the whip. We managed to establish some wonderful synced movement in two teams where they chanted and rowed together as one. A really positive start to creating a final end of term piece.
I can't wait to see what they come up with next.
Thursday 13 October 2011
Tuesday 11 October 2011
Saturday October 8th Of Clowns and Auditions
Today was a big day for some members of Acting Club.
Attercop are currently in pre-production for our third short film, 'Treasures', which is being directed and was written for screen by a certain Ben Murray-Watson (that's me!). On Saturday, immediately after Acting Club we set about finding the perfect girl and boy for the film.
But first things first. Clowning!
Tanushka was back from her travels and raring to go. The red noses were out and Acting Club was going to clown school! This was my first experience of being a clown so I was thrown mercilessly into class with the other students. The clown master, Tanushka Von Clowningness, put on her 'sternest' face and best authoritative tone and put us through our paces.
Luckily, the themes of the day were a far cry from 'Chucky' and remained harmless and fun. It was fascinating to see how the use of the 'mask' red nose, gave the students an amazing freedom in performance. Clowning is about knowing nothing, about being free to play games and about being totally natural. As soon as you start 'performing' as a clown, the impact on the audience lessons. In a similar way to 'Meisner' last week, we are putting emphasis on 'realness' in performance. Performance that happens 'in the moment' and performance focus that doesn't find its creation in self-conscious displays of individualism.
Noses bagged up and clowns sent home for the day, I began preparing for the 'Treasures' audition. It is a testament to the quality within Acting Club that I was able to call in 5 girls and 3 boys from our group. I remember my first ever professional audition and how terror-inducing it was. But Tanushka and I have consistently encouraged a professional outlook in class and so I was expecting great things from our kids. They didn't let me down!
Not only did they work well with other children that they had never met but they also shone as individuals. Unfortunately, I couldn't call them all back for a recall but here's the thing. When I announced who I was recalling (a horrible task when working with kids) the reaction from our Acting Club students was a real eye-opener. They applauded and congratulated those that had been recalled and really stood out from the other non-Acting Club girls who for the most part, looked extremely disappointed. Of course, it's disappointing - hugely so - but they celebrated the success of others over their own feeling of loss. How great is that?
I would also like to champion the work of Theatre Workshop, Brighton. The professionalism and talent on display from their children was superb and we recalled a large percentage of those that we saw.
So who was cast? We're working on it - suffice to say that there is a member of Acting Club and a few members of Theatre Workshop who are still on the shortlist. Watch this space!
More clowning next week!
Attercop are currently in pre-production for our third short film, 'Treasures', which is being directed and was written for screen by a certain Ben Murray-Watson (that's me!). On Saturday, immediately after Acting Club we set about finding the perfect girl and boy for the film.
But first things first. Clowning!
Tanushka was back from her travels and raring to go. The red noses were out and Acting Club was going to clown school! This was my first experience of being a clown so I was thrown mercilessly into class with the other students. The clown master, Tanushka Von Clowningness, put on her 'sternest' face and best authoritative tone and put us through our paces.
Luckily, the themes of the day were a far cry from 'Chucky' and remained harmless and fun. It was fascinating to see how the use of the 'mask' red nose, gave the students an amazing freedom in performance. Clowning is about knowing nothing, about being free to play games and about being totally natural. As soon as you start 'performing' as a clown, the impact on the audience lessons. In a similar way to 'Meisner' last week, we are putting emphasis on 'realness' in performance. Performance that happens 'in the moment' and performance focus that doesn't find its creation in self-conscious displays of individualism.
Noses bagged up and clowns sent home for the day, I began preparing for the 'Treasures' audition. It is a testament to the quality within Acting Club that I was able to call in 5 girls and 3 boys from our group. I remember my first ever professional audition and how terror-inducing it was. But Tanushka and I have consistently encouraged a professional outlook in class and so I was expecting great things from our kids. They didn't let me down!
Not only did they work well with other children that they had never met but they also shone as individuals. Unfortunately, I couldn't call them all back for a recall but here's the thing. When I announced who I was recalling (a horrible task when working with kids) the reaction from our Acting Club students was a real eye-opener. They applauded and congratulated those that had been recalled and really stood out from the other non-Acting Club girls who for the most part, looked extremely disappointed. Of course, it's disappointing - hugely so - but they celebrated the success of others over their own feeling of loss. How great is that?
I would also like to champion the work of Theatre Workshop, Brighton. The professionalism and talent on display from their children was superb and we recalled a large percentage of those that we saw.
So who was cast? We're working on it - suffice to say that there is a member of Acting Club and a few members of Theatre Workshop who are still on the shortlist. Watch this space!
More clowning next week!
Thursday 6 October 2011
The 'X Factor' on Young Performers
Okay. Let's get one thing out of the way. I watch 'X-Factor'. I enjoy 'X-Factor' - it is great TV, produced, edited and scripted in order to manipulate the highest possible amount of emotional involvement from the viewer. Having said that, I approach watching 'X-Factor' in the sound knowledge that I am being manipulated. Years of watching TV, doubled with an ever increasing life experience, has taught me to be cynical about such mindless entertainment for the masses. In the back of my mind there is always the thought that those involved are being used for no other reason than to make Simon Cowell another million or two.
What has struck me about this series however, are the reactions from the contestants - particularly the younger ones. One of them recently commented that they had grown up watching 'X-Factor' and that being given this opportunity was the only thing they had ever cared about. This is frightening. Is this generation of performer so rooted in the 'X Factor' culture that they see success, in fact, the only path to success being the 'X-Factor' way? Not to mention the fact that caring entirely for their own success might mean that they are missing out on other, quite important aspects of life, for example, other people!
It's as if this generation thinks that it is entitled to success. Society has taught them that 'being happy' is about 'having it all.' The media champions 'celebrity' as if it were some kind of pinnacle of life. Success is measured in the size of your house, the car you own or the looks that you're blessed with. Programs like the 'X-Factor', 'Big Brother', 'Britain's Got Talent' and countless others do nothing to dissuade young people of this. The riots around the country were a prime example of young people thinking that they had every right to go in and steal possessions that they hadn't earned. Virtually every 'X-Factor' contestant has stated at one time or another that they 'want this so much'. Well, fine. So you think that if you want something enough that gives you some kind of right?
This is beginning to turn into a rant so I'll pull it back. However, it is important to note where western society is pushing us and what it is championing. The result?Recession, greed, rioting.
But where does that leave a generation of young performers who are fighting for the success that society tells us should be ours?
Last term, I started an after-school acting club and found it to be a huge eye opener. A number of students, aged 8 - 11, simply refused to put in the work on technique and building group ensemble. They demanded that they wanted to do 'proper acting', as if I should have simply given them 'King Lear' and said, right, there you go, get on with it. It was frightening to see the complete and total individualism of a child of that age. Their needs were what were most important and there was no realism around their own talent or what was needed to create good results.
The facts of the matter are that so much more can be created in community or if you like, ensemble. Blatchington Mill Acting Club has been going for years. I have had the privilege of working with them for over a year and in that time I have seen a group of individuals transformed into an ensemble of performers. The students feel confident in each other and are prepared to focus on each other's work rather than purely their own. And what's more, they love it and find focus, definition and fun in working closely with other people their age. The result - every performance is better than the last.
It is our duty as adults to champion community. We can complain about the lack of it until we're blue in the face but unless we step up and begin to create it ourselves then no one else will. Yes, 'X-Factor' is great entertainment but what it creates and what it advocates can only lead more and more young people into an age of greater individualism.
The government, society, our culture or whatever you want to call it has pushed us to breaking point and it is up to those of us who have lived through it to teach the next generation where we went wrong.
What has struck me about this series however, are the reactions from the contestants - particularly the younger ones. One of them recently commented that they had grown up watching 'X-Factor' and that being given this opportunity was the only thing they had ever cared about. This is frightening. Is this generation of performer so rooted in the 'X Factor' culture that they see success, in fact, the only path to success being the 'X-Factor' way? Not to mention the fact that caring entirely for their own success might mean that they are missing out on other, quite important aspects of life, for example, other people!
It's as if this generation thinks that it is entitled to success. Society has taught them that 'being happy' is about 'having it all.' The media champions 'celebrity' as if it were some kind of pinnacle of life. Success is measured in the size of your house, the car you own or the looks that you're blessed with. Programs like the 'X-Factor', 'Big Brother', 'Britain's Got Talent' and countless others do nothing to dissuade young people of this. The riots around the country were a prime example of young people thinking that they had every right to go in and steal possessions that they hadn't earned. Virtually every 'X-Factor' contestant has stated at one time or another that they 'want this so much'. Well, fine. So you think that if you want something enough that gives you some kind of right?
This is beginning to turn into a rant so I'll pull it back. However, it is important to note where western society is pushing us and what it is championing. The result?Recession, greed, rioting.
But where does that leave a generation of young performers who are fighting for the success that society tells us should be ours?
Last term, I started an after-school acting club and found it to be a huge eye opener. A number of students, aged 8 - 11, simply refused to put in the work on technique and building group ensemble. They demanded that they wanted to do 'proper acting', as if I should have simply given them 'King Lear' and said, right, there you go, get on with it. It was frightening to see the complete and total individualism of a child of that age. Their needs were what were most important and there was no realism around their own talent or what was needed to create good results.
The facts of the matter are that so much more can be created in community or if you like, ensemble. Blatchington Mill Acting Club has been going for years. I have had the privilege of working with them for over a year and in that time I have seen a group of individuals transformed into an ensemble of performers. The students feel confident in each other and are prepared to focus on each other's work rather than purely their own. And what's more, they love it and find focus, definition and fun in working closely with other people their age. The result - every performance is better than the last.
It is our duty as adults to champion community. We can complain about the lack of it until we're blue in the face but unless we step up and begin to create it ourselves then no one else will. Yes, 'X-Factor' is great entertainment but what it creates and what it advocates can only lead more and more young people into an age of greater individualism.
The government, society, our culture or whatever you want to call it has pushed us to breaking point and it is up to those of us who have lived through it to teach the next generation where we went wrong.
Monday 3 October 2011
Saturday 1st October Of Ghosts and Stowaways
The scorching sun energized all as it shone down on the 1st October.
With sweaty brows we started with some light warm up games and vocal exercises. It's always hugely important, particularly early in the morning, that we warm up together as a group. The voice is the toolbox of the performer and therefore needs to be looked after as an athlete looks after their body. It's a strange fact that so many actors, singers and dancers smoke cigarettes when this means that they are directly damaging their means of earning a living.
Ghost ships and stowaways were still fresh in the mind from last week, to the point that two students shared wonderful dreams of Captains and ghost battles, inspiring us all to look more closely at how to create a performance from these themes.
Earlier this week I had attended a Meisner workshop as an actor. It's increasingly rare in Brighton to find high quality professional acting classes and I must admit that I held some trepidation as we started. However, my fears were soon dispelled as two experienced practitioners stood up and showed us all how it was done.
Sanford Meisner champions the behavioural aspects of Stanislavski's 'method'. He developed a series of workshops that were designed to hone the art of using 'impulse'. Now, impulse is a bit of an 'actory' word - we talk about following our impulse, going with our impulse or reacting truthfully to our impulses. I suppose one might also describe it as our 'instinct'. Putting that into an acting context, it's the feeling inside us that pushes us to react in a certain way. However, it isn't an idea. We don't 'think', "right I'm going to stand now", rather we simply stand because we feel 'impulsed' to do so. When working with a partner this helps us to put the attention directly onto them rather than focusing on our own thoughts. Hence, the moments when we respond to our impulse are completely unplanned but wholely truthful to who we are and the situation that we're in.
So it was interesting bringing this with me into the acting class. The question still remained, how do we convince 7 - 12 year old actors that they need to follow their impulse?
Following the warm up we split the class into two. One half worked on creating story through text and devising, whilst the other half looked at how repetition of physical acts could begin to tell a story of their own. Of course, the theme of ships and ghosts still prevailed.
I am always amazed and yet more and more I find myself expecting great things from this class. They never fail to live up to the expectations us adults put on them and it's important to remember that in directing. If we expect greatness then a child responds. If we expect them to fail then how do they know different?
With some great physical representation of life on the ship, mixed with some original pieces of text both scripted and improvised, things began to slowly take shape. Then came the Meisner. Taking a small piece of text from each piece we began using the repetition exercise. Each actor takes one piece of text and then repeats it in dialogue with another actor. Slowly, through repetition small stories begin to emerge alongside telling subtext.
It wasn't long before the group were acting totally on impulse, responding truthfully to every moment and yet all they were doing was repeating movement and text. Meisner was certainly onto something!
With sweaty brows we started with some light warm up games and vocal exercises. It's always hugely important, particularly early in the morning, that we warm up together as a group. The voice is the toolbox of the performer and therefore needs to be looked after as an athlete looks after their body. It's a strange fact that so many actors, singers and dancers smoke cigarettes when this means that they are directly damaging their means of earning a living.
Ghost ships and stowaways were still fresh in the mind from last week, to the point that two students shared wonderful dreams of Captains and ghost battles, inspiring us all to look more closely at how to create a performance from these themes.
Earlier this week I had attended a Meisner workshop as an actor. It's increasingly rare in Brighton to find high quality professional acting classes and I must admit that I held some trepidation as we started. However, my fears were soon dispelled as two experienced practitioners stood up and showed us all how it was done.
Sanford Meisner champions the behavioural aspects of Stanislavski's 'method'. He developed a series of workshops that were designed to hone the art of using 'impulse'. Now, impulse is a bit of an 'actory' word - we talk about following our impulse, going with our impulse or reacting truthfully to our impulses. I suppose one might also describe it as our 'instinct'. Putting that into an acting context, it's the feeling inside us that pushes us to react in a certain way. However, it isn't an idea. We don't 'think', "right I'm going to stand now", rather we simply stand because we feel 'impulsed' to do so. When working with a partner this helps us to put the attention directly onto them rather than focusing on our own thoughts. Hence, the moments when we respond to our impulse are completely unplanned but wholely truthful to who we are and the situation that we're in.
So it was interesting bringing this with me into the acting class. The question still remained, how do we convince 7 - 12 year old actors that they need to follow their impulse?
Following the warm up we split the class into two. One half worked on creating story through text and devising, whilst the other half looked at how repetition of physical acts could begin to tell a story of their own. Of course, the theme of ships and ghosts still prevailed.
I am always amazed and yet more and more I find myself expecting great things from this class. They never fail to live up to the expectations us adults put on them and it's important to remember that in directing. If we expect greatness then a child responds. If we expect them to fail then how do they know different?
With some great physical representation of life on the ship, mixed with some original pieces of text both scripted and improvised, things began to slowly take shape. Then came the Meisner. Taking a small piece of text from each piece we began using the repetition exercise. Each actor takes one piece of text and then repeats it in dialogue with another actor. Slowly, through repetition small stories begin to emerge alongside telling subtext.
It wasn't long before the group were acting totally on impulse, responding truthfully to every moment and yet all they were doing was repeating movement and text. Meisner was certainly onto something!
Saturday 24 September 2011
Saturday 24th September Of Ships and Status
With Tanushka away on holiday, Ben's wife, Jane Lesley came in to cover. It was Jane's first time with these kids and she had a great time, commenting that they were a fantastically professional group. Jane also works with Ben in their husband and wife business, 'Home Acting Tuition'.
21 students attended this week - that's over 90 percent of the 'trialers' from the previous week, signing up for the full term. We also had three more 'trialists' during this session and they threw themselves into it with great endeavour.
With so many new faces we felt it was time to start to get to know each other a bit more so we began with some name games. Although these are usually difficult and sometimes embarrassing if we forget names, it is vital to keep a good sense of ensemble. It's also interesting and extremely encouraging to see the more experienced acting club members making the newbies feel so welcome. That's true professional ensemble.
We then introduced a possible theme for this year's performance work. More on this to follow but suffice to say that we've begun looking at the theme of the sea and...ghost ships!
We talked about what characters you might find on a ship, from The Captain, to the crew, rich guests, poor guests and even slaves. We then gave each character a level of 'status' from 1-10. If your character had a status of 10 then they were the most important person on the ship. If the status was 1 then the character was insignificant and poor. Rather black and white but useful for an introduction into characters.
The whole group showed a fantastic level of focus throughout and we were particularly inspired by some work they did as 'ghosts' (who had a status of 8!).
After the break the real work began and in smaller groups the students began to create stories using the characters that we'd established through the status work. We began by creating three tableaux - a beginning, middle and end - that set up the story. That gave them a good structure to work a fully devised improvisation around their characters. From murderous ghosts to petrified stowaways, there was some fantastic moments.
All of this has inspired some brilliant ideas to move towards performance. Watch this space.
21 students attended this week - that's over 90 percent of the 'trialers' from the previous week, signing up for the full term. We also had three more 'trialists' during this session and they threw themselves into it with great endeavour.
With so many new faces we felt it was time to start to get to know each other a bit more so we began with some name games. Although these are usually difficult and sometimes embarrassing if we forget names, it is vital to keep a good sense of ensemble. It's also interesting and extremely encouraging to see the more experienced acting club members making the newbies feel so welcome. That's true professional ensemble.
We then introduced a possible theme for this year's performance work. More on this to follow but suffice to say that we've begun looking at the theme of the sea and...ghost ships!
We talked about what characters you might find on a ship, from The Captain, to the crew, rich guests, poor guests and even slaves. We then gave each character a level of 'status' from 1-10. If your character had a status of 10 then they were the most important person on the ship. If the status was 1 then the character was insignificant and poor. Rather black and white but useful for an introduction into characters.
The whole group showed a fantastic level of focus throughout and we were particularly inspired by some work they did as 'ghosts' (who had a status of 8!).
After the break the real work began and in smaller groups the students began to create stories using the characters that we'd established through the status work. We began by creating three tableaux - a beginning, middle and end - that set up the story. That gave them a good structure to work a fully devised improvisation around their characters. From murderous ghosts to petrified stowaways, there was some fantastic moments.
All of this has inspired some brilliant ideas to move towards performance. Watch this space.
Thursday 22 September 2011
Bringing Acting Home - Listening
In Marc Forster’s 2004 film, ‘Finding Neverland’, starring Johnny Depp and Kate Winslet, the character J.M.Barrie (Depp) arranges for the stars of his new play ‘Peter Pan’ to perform a private home performance for bed-bound Sylvia Davies (Winslet). Now, even though some of us might be quite keen on having Johnny Depp or Kate Winslet in our lounge, the likelihood of them appearing dressed in Edwardian costume in a room where the walls fly to the ceiling and there’s a man dressed as a dog (Angus Barnett as Nana), isn’t particularly high. So what do I mean if I say that it’s time to bring acting home?
This is the first in a series of articles on how we can use acting skills in everyday life.
Have you ever sat with a group of people, a colleague or even someone that you consider a friend and elaborately outlined a worry or concern, an idea or a passion and then sat back dejectedly as they completely miss the point? I do quite a bit of roleplay acting as a patient for medical students and it is shocking how many times the following might occur:
MEDICAL STUDENT
So, Mr Palmer, what’s brought you in today?
PATIENT
I’ve been suffering with this really bad cough at night.
MEDICAL STUDENT
Really bad cough? Ok. And how long has this been going on?
PATIENT
About a week, along with a bit of a tight chest.
MEDICAL STUDENT
Ok. And when does this cough come on?
PATIENT
Err. Like I said, at night.
MEDICAL STUDENT
At night. Okay. And have you had any other problems? (associated symptoms)
PATIENT
Well, I said, I have a tight chest.
On paper it looks a bit ridiculous but I can assure that in end of year exams, this or something similar is extremely common. The student has a list of questions that they need to get through in order to pass and yet they miss the vitals in the response. They forget to listen. Now, this isn’t a failure of the teaching institution but rather it is an endemic problem throughout our culture. We are much more concerned with our own agenda, what is going on in our life, our next question, our next answer. In so doing, we tend to miss so many moments of great interaction. We don’t hear what somebody is really saying. Ideas lie discarded before they are thought through, creativity is stubbed out and relationships stay locked in a cycle of surface based frivolity.
Why do we feel that we can talk deeply with some people and not with others? Why is it that our best friends are often people that we would describe as ‘great listeners’? It is because such a person has learnt to value other people and their thoughts, words and opinions through earnest listening. It is in feeling valued that we feel safe to give deeply of ourselves – our dreams, our visions and our life plans. As actors we are trained to listen in the truest sense of the word. Listening on stage is both active and exciting to watch. Good stage actors won’t simply wait around for their line - rather they will ‘breathe in’ what is happening around them. They will listen to the dialogue and react truthfully to what is being said and in so doing create believable and entrancing relationships.
So why are we so bad at listening and how do we get better?
When was the last time you stood still and listened? I mean, really listened? Try it now. I can hear music playing on my laptop (Sibelius Symphony no. 7 for those that care!). I can hear the bathroom fan (three rooms away!). I can hear a few people chatting outside the window and the constant hum of passing buses and cars. Then when I type, the keyboard clicks back at me. Simply put, there is no silence, no peace. It is virtually impossible to stand anywhere in England and not hear the sound of passing traffic or an airplane overhead. The plain facts are that we are bombarded on all sides by useless sound to the point where we get used to siphoning it out, ignoring it and not paying attention to it. We are subconsciously training ourselves not to listen. I was lucky enough to be brought up being taken to classical music concerts and I remember my father telling me that ‘listening is hard work’. We do indeed need to concentrate when listening to a complex piece of music like a fugue or symphony. We need to give it our full attention - our full antennae - and actually give something of ourselves. It is in this giving that we receive the very best of what is to be received in music, relationships and also in acting.
As actors, we are trained to pick up and identify slight nuances of tone, of subtext beneath a word or phrase and also the tension in silence. If we fail at this then our reaction seems false and badly acted. But even as professionals, we have to remain in constant practice and it is only in taking the time to listen that we remember how.
But surely, in the Western world, there is no time or space for silence. Well, find it! I recently came across a fantastic new initiative called 'Quiet Mark'. This is a mark awarded to quiet appliances like the bathroom fan or lawnmower. Consumers will be able to tell if what they are buying or fitting is going to make such a racket that will be heard by the neighbour, keep you awake as it spin-drys or whether it will simply carry on its job without polluting the air with more useless noise. We are silently crying out for less noise!
It is in listening that we can begin to create deeper, trusting and more worthwhile relationships at home, school, work or social situations. As an actor, listening is a core skill that is honed and practiced and therefore, whether it is through one-on-one classes with 'Home Acting Tuition' (HAT) or group workshops with Windmill Young Actors, learning the skill of listening is absolutely vital.
This is the first in a series of articles on how we can use acting skills in everyday life.
Have you ever sat with a group of people, a colleague or even someone that you consider a friend and elaborately outlined a worry or concern, an idea or a passion and then sat back dejectedly as they completely miss the point? I do quite a bit of roleplay acting as a patient for medical students and it is shocking how many times the following might occur:
MEDICAL STUDENT
So, Mr Palmer, what’s brought you in today?
PATIENT
I’ve been suffering with this really bad cough at night.
MEDICAL STUDENT
Really bad cough? Ok. And how long has this been going on?
PATIENT
About a week, along with a bit of a tight chest.
MEDICAL STUDENT
Ok. And when does this cough come on?
PATIENT
Err. Like I said, at night.
MEDICAL STUDENT
At night. Okay. And have you had any other problems? (associated symptoms)
PATIENT
Well, I said, I have a tight chest.
On paper it looks a bit ridiculous but I can assure that in end of year exams, this or something similar is extremely common. The student has a list of questions that they need to get through in order to pass and yet they miss the vitals in the response. They forget to listen. Now, this isn’t a failure of the teaching institution but rather it is an endemic problem throughout our culture. We are much more concerned with our own agenda, what is going on in our life, our next question, our next answer. In so doing, we tend to miss so many moments of great interaction. We don’t hear what somebody is really saying. Ideas lie discarded before they are thought through, creativity is stubbed out and relationships stay locked in a cycle of surface based frivolity.
Why do we feel that we can talk deeply with some people and not with others? Why is it that our best friends are often people that we would describe as ‘great listeners’? It is because such a person has learnt to value other people and their thoughts, words and opinions through earnest listening. It is in feeling valued that we feel safe to give deeply of ourselves – our dreams, our visions and our life plans. As actors we are trained to listen in the truest sense of the word. Listening on stage is both active and exciting to watch. Good stage actors won’t simply wait around for their line - rather they will ‘breathe in’ what is happening around them. They will listen to the dialogue and react truthfully to what is being said and in so doing create believable and entrancing relationships.
So why are we so bad at listening and how do we get better?
When was the last time you stood still and listened? I mean, really listened? Try it now. I can hear music playing on my laptop (Sibelius Symphony no. 7 for those that care!). I can hear the bathroom fan (three rooms away!). I can hear a few people chatting outside the window and the constant hum of passing buses and cars. Then when I type, the keyboard clicks back at me. Simply put, there is no silence, no peace. It is virtually impossible to stand anywhere in England and not hear the sound of passing traffic or an airplane overhead. The plain facts are that we are bombarded on all sides by useless sound to the point where we get used to siphoning it out, ignoring it and not paying attention to it. We are subconsciously training ourselves not to listen. I was lucky enough to be brought up being taken to classical music concerts and I remember my father telling me that ‘listening is hard work’. We do indeed need to concentrate when listening to a complex piece of music like a fugue or symphony. We need to give it our full attention - our full antennae - and actually give something of ourselves. It is in this giving that we receive the very best of what is to be received in music, relationships and also in acting.
As actors, we are trained to pick up and identify slight nuances of tone, of subtext beneath a word or phrase and also the tension in silence. If we fail at this then our reaction seems false and badly acted. But even as professionals, we have to remain in constant practice and it is only in taking the time to listen that we remember how.
But surely, in the Western world, there is no time or space for silence. Well, find it! I recently came across a fantastic new initiative called 'Quiet Mark'. This is a mark awarded to quiet appliances like the bathroom fan or lawnmower. Consumers will be able to tell if what they are buying or fitting is going to make such a racket that will be heard by the neighbour, keep you awake as it spin-drys or whether it will simply carry on its job without polluting the air with more useless noise. We are silently crying out for less noise!
It is in listening that we can begin to create deeper, trusting and more worthwhile relationships at home, school, work or social situations. As an actor, listening is a core skill that is honed and practiced and therefore, whether it is through one-on-one classes with 'Home Acting Tuition' (HAT) or group workshops with Windmill Young Actors, learning the skill of listening is absolutely vital.
Monday 19 September 2011
Saturday 17 September 2011
Saturday 17th September Of New Starts and Portraits
A fantastic start to the term.
We had an amazing 22 students today and it was so great to see the 'newbies' welcomed into what is fast becoming the best young actors ensemble in Sussex.
We began with some introduction games and warm up exercises. It's very important in a first session to start with focus and fun. Focus, so that we set up how we want to move things forward through the term and fun to recognise that learning to act and acting in itself involves a lot of playing. The best actors make it look so easy because they are having fun when they do it.
Tanushka and I tend to work quite spontaneously and so it was today. A two group exercise where each group had to create a 'portrait' of a moment turned into a most wonderful example of a full group tableaux. Within this artistic picture, relationships flourished and wonderful stories began to come alive. It inspired us to ask, what are these relationships? How did they get to this point where they have frozen?
And so the second half of the session focused on these very questions. Through use of text, devising and improvisation every member, new and old, performed a small snippet of a relationship or character that had been inspired by the tableaux.
It is always a privilege working with young performers but there's something special about Blatchington Mill Acting Club and I can't wait to see what we come up with this new term.
We had an amazing 22 students today and it was so great to see the 'newbies' welcomed into what is fast becoming the best young actors ensemble in Sussex.
We began with some introduction games and warm up exercises. It's very important in a first session to start with focus and fun. Focus, so that we set up how we want to move things forward through the term and fun to recognise that learning to act and acting in itself involves a lot of playing. The best actors make it look so easy because they are having fun when they do it.
Tanushka and I tend to work quite spontaneously and so it was today. A two group exercise where each group had to create a 'portrait' of a moment turned into a most wonderful example of a full group tableaux. Within this artistic picture, relationships flourished and wonderful stories began to come alive. It inspired us to ask, what are these relationships? How did they get to this point where they have frozen?
And so the second half of the session focused on these very questions. Through use of text, devising and improvisation every member, new and old, performed a small snippet of a relationship or character that had been inspired by the tableaux.
It is always a privilege working with young performers but there's something special about Blatchington Mill Acting Club and I can't wait to see what we come up with this new term.
Thursday 15 September 2011
HATS off to Anna Simmonds
Anna, 11, is a member of Blatchington Mill Acting Club and was the first ever HAT student. Anna wanted to move forward to that next step and do more of what she loved. HAT worked with Anna and her Mum, Beccy, to build up a fantastic CV, cover letter and portfolio to send off to agents. HAT saved Beccy £250.00 on a photographer and recommended a number of good agencies in London. Anna was invited to audition with two agencies on the strength of her portfolio. HAT then provided and worked on a monologue for the audition. Anna was accepted and signed by the first agent who saw her and is now represented by CS Management.
Beccy, Anna's Mum, writes
"I can't recommend Ben highly enough. His work with my daughter to help her progress her acting has been fantastic. He has given her tuition that has enabled her to progress to a level where she has been accepted by the first professional agent that interviewed her. Ben is incredibly approachable and keen to help. He is also honest about ability and about acting as a career. As a complete novice we could not have done any of it without him."
Anna writes
"Ben is so supportive, helpful and kind. He has helped me and been there for me all the way. He makes lessons fun but educational and has taught me lots!"
Beccy, Anna's Mum, writes
"I can't recommend Ben highly enough. His work with my daughter to help her progress her acting has been fantastic. He has given her tuition that has enabled her to progress to a level where she has been accepted by the first professional agent that interviewed her. Ben is incredibly approachable and keen to help. He is also honest about ability and about acting as a career. As a complete novice we could not have done any of it without him."
Anna writes
"Ben is so supportive, helpful and kind. He has helped me and been there for me all the way. He makes lessons fun but educational and has taught me lots!"
Vision Statement for Windmill Young Actors
Windmill Young Actors celebrates collaborative and ensemble work in all its forms. Coming from extremely diverse backgrounds, professional director, writer and actor, Ben Murray-Watson and award winning theatre director and actor Tanushka Marah, bring to Acting Club a fantastic mixture of international physical and text based methods. We see everyone who comes to us as 'a young actor' and so aim to give a professional and creative experience to all. We believe that through structured rehearsal and team work, a young ensemble can create thought-provoking, exciting and passionate performance suitable for everyone. Whether it is to improve skills or to increase confidence, Windmill Young Actors will inspire wonderfully rounded, centred and focused young performers. Through the group experience of creating unique pieces of theatre we aim to equip the next generation of performers with the tools to express themselves both freely and imaginatively.
Thursday 8 September 2011
Home Acting Tuition
Inspired by a combined 26 years working in the industry with children and young people, husband and wife team, Ben Murray-Watson and Jane Lesley set up HAT in 2011. We aim to provide acting classes for children and students in Brighton who are aged 9 - 19 and who are passionate about acting and performance. We are dedicated to providing affordable and invaluable one-on-one and one-on-two (bring a friend) acting classes in your home. The HAT team have all spent years working in the acting profession and youth sector and specialise in bringing professional standard performances out of talented young actors. We can help with auditions, exams, scholarships and much more. Check out Home Acting Tuition for more information.
New Term Starts September 17th
The new term is about to start! On Saturday 17th Blatchington Mill Saturday Acting Club kicks off for a new term. Tanushka and Ben have huge plans for this year. More to follow.
Welcome to All
Bring Acting Home is a blog dedicated to the students and parents who have worked or would like to work with Tanushka Marah and Ben Murray-Watson. Discover all the latest news about what is being planned for Saturday Acting Club, Home Acting Tuition and more. You'll hear all about our classes, projects and passions and have a chance to comment on everything we're doing. We take your views seriously and are extremely grateful for any ideas or thoughts you may have.
Come and Post
You're young (under 20) and you love performing. Or you're old (over 20!) and might have an aspiring son, daughter, grandson, great grand daughter (maybe you're over 60!?) who simply loves being in the limelight, getting all the attention and playing around. If this applies to you then do post your thoughts, feelings, moans, links etc...Right here!
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