With the growing experience and talent of some members, Tanushka and I have started giving directing opportunities to the young actors. Take a look at what Millie said about her first attempt.
Last week in drama I had a go at directing for the first
time - believe me, it was hard!
Once you’ve got a picture in your head of what you want the scene to look like, it's quite hard to actually get it out of your head. You just have to accept that it's probably not going to turn out how you thought it would. You have to remember that actors aren’t dolls and you can’t simply force them into a position without them feeling uncomfortable in that position and able to move freely.
If you direct your actors to add a little look to the audience so they can understand what the character is feeling, it doesn’t always go as planned. I found that in performance the audience laughed, when actually the character was experiencing a tiring, backbreaking job. I guess they liked it, whichever way they took it, and that’s the main thing. The audience have to like it.
It's often difficult to know exactly how an audience will react to the scene that you've directed and only through experience that you can get a pretty firm grasp on the feeling that you're creating through the performances and the blocking. Millie managed to put together a gorgeously sweet little scene. That's all I'll say on it for now. If you want to see how that scene turns out then come and watch on March 24th!
Wednesday, 14 March 2012
Monday, 12 March 2012
A Play in A Day! Come and Play! Friday April 13th
Come and join us at the Hanover Centre on Friday 13th for a whirlwind day of creativity led by the talented writer and director, Ben Murray Watson and award-winning director, Tanushka Marah.
On 9am the journey will begin. From the depths of a deep and dark hat we will draw the title of the play to be conceived throughout the day. At 7.30pm on that very evening the title will have become a performance with new characters and new songs.
Everyone will be involved in the final, site specific spectacular!
Ages: 9 - 14
Times: 9am - 9pm Performance at 7.30pm
Place: Hanover Centre, 33 Southover Street, Brighton, BN2 9UD
Price: £35 per child / £30 conc. / £55 for two siblings
Contact:- Tanushka on 01273 298414 / 07932 776 114
Please note that this event is not a part of or associated to Blatchington Mill School or their Community Arts.
On 9am the journey will begin. From the depths of a deep and dark hat we will draw the title of the play to be conceived throughout the day. At 7.30pm on that very evening the title will have become a performance with new characters and new songs.
Everyone will be involved in the final, site specific spectacular!
Ages: 9 - 14
Times: 9am - 9pm Performance at 7.30pm
Place: Hanover Centre, 33 Southover Street, Brighton, BN2 9UD
Price: £35 per child / £30 conc. / £55 for two siblings
Contact:- Tanushka on 01273 298414 / 07932 776 114
Please note that this event is not a part of or associated to Blatchington Mill School or their Community Arts.
Thursday, 8 March 2012
Saturday 3rd March - Of Putting it all Together
Where do you start when you have a rough sketch of a new piece of writing?
SCRIPT READING
This is pretty essential to get a feel for the rhythm and pace of the piece. It also flags up any obvious mistakes in the writing in terms of character and dialogue.
GUT REACTION
It's vital that your prospective actors feel at least a little inspired by what they've read otherwise everyone will be fighting a losing battle.
CASTING
In this case, Tanushka and I base the casting on a number of different aspects. Firstly, we look at whether or not the character will be suitable for the actor. We take into consideration experience, time as a Windmill Young Actor, commitment to the previous Saturdays, commitment to the workshops that we've run and age and size (very important if two actors are playing opposite each other in particular scenes or doing something physically difficult). Secondly, we look at how casting a particular young actor will benefit them as both an actor and a person. Some unconfident actors might benefit hugely from being given a little more responsibility, whereas some actors who have a way to go will be given something that they can get their teeth into - suitable for their talent. Thirdly, we might really want to challenge a more experienced actor and so cast them in a role that is the complete opposite to what they might usually play.
It was wonderful to chat to one particular member of the afternoon group last week. I mentioned that unfortunately there wasn't going to be the part this term that would fully recognise her talent and commitment. She responded, "It's fine. As long as I'm performing, I don't care what I play!" I wish all actors were like that!
PUTTING IT ON IT'S FEET
The first week of doing this is particularly challenging. And it was no change on Saturday. This is where, with scripts in hand, we begin to shape together the scenes and the characters. Tanushka and I are co-directing for the first time this term and it's a new experience for both of us. The good news is that it's working very well and we haven't gone down with 'creative differences' yet! The slightly tricky thing though, is that until we have firm 'blocking' (when actors have their places and positions on stage), things are quite slow and so a lot of patience is needed from the young actors.
CCOMBINING TWO GROUPS
This has been another great new opportunity for us this term. With two groups we have the chance to give each group very specific scenes and tasks that make up part of the whole piece. We can then put them all together and create one full and varied exciting final performance that utilises everyone's unique skills. Of course, it all becomes more complicated but then working through all that is what you're paying us for!
CREATING PERFORMANCE
Everything said prior to this is just the start. Once we have a shape to the performance the real challenge then begins. We begin to work the 'detail' into the scenes. These are the small moments that perhaps aren't in the script; perhaps a character history for an atmosphere or a piece of music. It's all vital!
With just 6 hours of rehearsal until 24th March, we're excited and just a little terrified!
SCRIPT READING
This is pretty essential to get a feel for the rhythm and pace of the piece. It also flags up any obvious mistakes in the writing in terms of character and dialogue.
GUT REACTION
It's vital that your prospective actors feel at least a little inspired by what they've read otherwise everyone will be fighting a losing battle.
CASTING
In this case, Tanushka and I base the casting on a number of different aspects. Firstly, we look at whether or not the character will be suitable for the actor. We take into consideration experience, time as a Windmill Young Actor, commitment to the previous Saturdays, commitment to the workshops that we've run and age and size (very important if two actors are playing opposite each other in particular scenes or doing something physically difficult). Secondly, we look at how casting a particular young actor will benefit them as both an actor and a person. Some unconfident actors might benefit hugely from being given a little more responsibility, whereas some actors who have a way to go will be given something that they can get their teeth into - suitable for their talent. Thirdly, we might really want to challenge a more experienced actor and so cast them in a role that is the complete opposite to what they might usually play.
It was wonderful to chat to one particular member of the afternoon group last week. I mentioned that unfortunately there wasn't going to be the part this term that would fully recognise her talent and commitment. She responded, "It's fine. As long as I'm performing, I don't care what I play!" I wish all actors were like that!
PUTTING IT ON IT'S FEET
The first week of doing this is particularly challenging. And it was no change on Saturday. This is where, with scripts in hand, we begin to shape together the scenes and the characters. Tanushka and I are co-directing for the first time this term and it's a new experience for both of us. The good news is that it's working very well and we haven't gone down with 'creative differences' yet! The slightly tricky thing though, is that until we have firm 'blocking' (when actors have their places and positions on stage), things are quite slow and so a lot of patience is needed from the young actors.
CCOMBINING TWO GROUPS
This has been another great new opportunity for us this term. With two groups we have the chance to give each group very specific scenes and tasks that make up part of the whole piece. We can then put them all together and create one full and varied exciting final performance that utilises everyone's unique skills. Of course, it all becomes more complicated but then working through all that is what you're paying us for!
CREATING PERFORMANCE
Everything said prior to this is just the start. Once we have a shape to the performance the real challenge then begins. We begin to work the 'detail' into the scenes. These are the small moments that perhaps aren't in the script; perhaps a character history for an atmosphere or a piece of music. It's all vital!
With just 6 hours of rehearsal until 24th March, we're excited and just a little terrified!
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