response to article

i feel that colour should never be a basis for what a person should or should not do. a person must not be chosen to preform if they are not good enough, ethnic history should not be a basis for decision. likewise i do not think that is is good to have a character preform an ethnicity that is different from themselves as it can be seen as disrespectful. this is a problem i do realise since this causes the dilemma of do i keep true to the story or do i keep true to the skill of the actor in some respect. it is just i personally as an actor would feel sick to have been chosen because of past event rather than the skill of my preformance

quotes

Suppleness, flexibility, and sensitivity are the key aims for actors. Peter Brooks points out that it is easy to be sensitive in the fingers and the face, but the actor needs to be sensitive throughout the body, constantly in contact with every inch of it. Sensitivity begets precision. And stage movement requires definition and clarity

Masks

APAC

one thing I experienced that few other people in our class is a level of butoh that really showed me the complexity of the control needed in that form of performance. since i was assistant for mark hill i got to SEE instead of DO the activities. in particular the final performance when all the people on stage came together to show their imagination and personality in their movements. with mark hills ensemble and taster workshops he did the performance for all people and each and every time the group as a whole made this beautiful dance that all people were different yet the shadows that were expressed on the wall and everyone moved with each other even if they all had their eyes closed and could not see each other. the thing i like the most about butoh is how much the performance does not require words, the body is the only language needed to display the message. the katakali performance wa very intricate with its makeup, hand geasture and facial expressions and very controlled and precise. that kind of performance is not open to interpretation and has to be done precisely as it was always performed, it seems. the talchum on the other hand was more fun and playful, not saying that katakali wasn't only that there seems to be more of a religious performance rather than a fun cultural one.

response to mr. black

In consideration to what Mr Black said, i found it very comforting and kind and a little different to what i expected. i believed that our performance was actually not as good as some other IB threatre classes but then again I was never backstage when it came to creating and designing the performance and mr. Black has that privledge to know the difference in fluidity and composition of classes, much like mrs. moon, but with a very hardlined technical design aspect of it, and is another perception on how preformance went. In regard to our production elements I read through the lighting design critique more in depth than in the other elements, and was overall proud in every aspect in accordance to what Mr. Black said. I was particularly proud of lighting given what he said and just in general agreed with what was said, although my agreeing is more in hindsight than it is if i was told durng production (i',m thinking in particular to the bamboo gobos, which probably should have been taken down when we got rid of the tv screen idea, but time was short then). i am also relieved that our blue lighting during the yang sun scene was good in his eyes, because i noticed a lot of problems in regards to visibility of how dark it was and that the scaf emma had turned red when it was meant to be blue (or was it red?).

review responses

In consideration to the responses that i managed to read and see I noticed that of all things we left an impression on the audience. For the most part, people got that we intended to get a theme across to them and that we managed to make them think about the problems that are proposed in the script. further more the design elements that we were in control of all seem to have positive reviews, however the style of Brecht may have been lost on some of the people. I personally am not sure about the reviews that we got on paper, as most of them were lax to none in regards to constructive criticism or of what we did well. not to say we got none, but that there could have been more. The responses to lighting were quite positive with the most memorable criticism was that the lighting was not fully brecht, but they did not know that, that was intentional.

nancy kim

                Theatre is not just acting it is everything if acting doesn’t work out backstage can. There are many faucets of theatre and many aspect people can focus on. One way to learn the play and create the play is to go scene by scene and perfect a scene before moving on to the next. Takes a long time and regardless if in the scene one must still be present. It is good know all aspects of theatre regardless of your profession in theatre.  Brechtian theatre cannot be done anymore we can only take in elements of brechtian theatre.

Our production had less cohesion in the elements. We need to exceed what we consider high school and aim for professional. Reca out of smoke, fly us out? Reason for everything, try not hide as much.

Robereo  La pashe- big cheese in theatre, take a lot of different media aspects and extend the possibilities of the performance

Robert Wilson-abstract weirdness , stillness and focusing on moments suspended in time that can be observed. He saw a difference between useless hands as I call them to standing with a purposeful stance.