Friday, 22 May 2015

Evaluation

On the 30th April my cast and I performed our promenade/multimedia performance of 'Antigone', we did two shows to the parents, and one other show to the year 11's. Although I didn't enjoy the topic I thought our performance was very well done and everyone did a great job, especially as it was both Theatre classes together, so there were 50+ of us.

The multimedia that we used in the performance was:

  • Videos
  • Megaphone 
  • Projections
  • Audio
  • Mobile phones
  • Torches
Multimedia enhanced the overall performance because it automatically turned an ancient piece of script into a modernised piece of theatre. It enhanced the performance greatly because it allowed the piece more opportunities to try new things and experiment with depth, dialogue and the acting itself.

I think that the multimedia spin on 'Antigone' had a great impact on the audience because as it is the modern day, multimedia and technology is a huge, common part of everyone's lives and watching multimedia in a theatre performance, I think it ables them to relate and engage in the show a bit more. 

If the show was put on without any multimedia, it would have been a bit harder to show the modern aspects of the piece, and that was the target we were aiming for when making 'Antigone' come to life, so no, I don't think it would have been as effective in our case. 

I think the most effective use of multimedia (from what I saw) was the news report in the prologue scene. I'm not just saying this because it was my group's scene, but because I think linking the political aspect of the play and a news report is extremely relatable to today's news. I also think the whole reporter being live, asking questions to Creon who's on the TV scenario gave the scene a unique twist, as it was very difficult to make but the end result looks very intelligent.


Wednesday, 20 May 2015

19/5/15 - Finishing touches

Multimedia is the use of a variety of artistic/communicative media, and it can be applied to Theatre to enhance and modernise performances for an audience of this day and age. We incorporated aspects of our mobile phone when responding to a moment of the chorus, we used the phone to play an audio out loud of everyone saying the chorus. Live-feed and Garageband have been explained in my earlier posts. 

My group and I's set to work with was the main foyer/reception desk, so this meant we had a very unique but difficult place to work with, it is a nice big space with plenty of depth and layers. If you used your diaphragm, you would be heard all round the room and the area wasn't crammed with anything so the audience would be able to see everything going on in the scene if it took place anywhere. A TV is right beside the front desk so it was very handy to show footage of films we created. The reception area would be a nice place to play audio or music as the speakers should be pretty clear in a place like that. Our site is a very busy place, and because this is the Brit School we are talking about, students, staff and visitors are always in the foyer, so trying to rehearse and then perform would be a tricky task to manage. Also with the amount of different people who aren't the audience in there, it was going to be hard to play and audio that the real audience would be able to hear.

As we did ensemble work last term, it was very easy for me to start working on the chorus straight away. I know that I'm a disciplined child so being focused and committed wasn't that much of a problem for me, however, it was a little bit hard at times to stay completely still as other kids would disrupt us from time to time. The multimedia that we incorporated with the chorus was mobile phone torches and audio. As said above, the audio was played whilst the chorus moved together, and the torches were used when the chorus were placed in the 'skyline' position, to look like lights in the city (this made Antigone more modern as it looked like more of an urban city.) Repeating the chorus lines to the phone was very easy, and learning the other very few lines of the chorus was simple too, yet I only knew them a few days before the actual performance because I was very busy and the Spanish trip did get in the way of everything, but I was ready for the performance with no worries. 



Scenes from Antigone:

Multimedia used and locations
How did the multimedia in each scene enhance the performance?
1. Creon announces that Eteocles will be honoured and Polynices will be shamed and left un-buried.
Video to be shown on screen in reception.
The video shown was a news report, and as it was a TV it gave a nice modern atmosphere to the play, and it had only just started.
2. Antigone goes to Ismene to persuade her to assist the burial of their brother. Ismene refuses. 
By the tree - video shown of the thoughts of the characters.
---
3. Antigone goes to bury her brother.
Round of wooden stumps.

The wooden stumps makes the scene more stylized in a way, because it is showing that the body is the centre of attention, so you focus on it more
4. Creon looks for the support of the chorus of Theban Elders in his  decision to leave Polynices unburied.
Creon announces from fire escape door of 415 - chorus round the tree looking up. Audience looking up also.
Creates big layer and that easily tells the audience who has the most power.
5. A Sentry reports the burial of Polynices. Creon insists that the Sentry finds out who or face death.
Filmed footage of event is shown on screen top of stairs. Sentry talking to Creon.
---
6. Chorus sing about honouring gods.
From the yard up to windows of 413

Recorded chorus played. 
Without the need to both say the lines and do the movements created an effect because it felt as if maybe the Gods were saying it because it was played from above. 
7. Sentry returns with the Culprit: Antigone. Creon confronts her.
Burst into 413 - audience turn to see.
Lighting used.
---
8. Creon confronts Ismene. Ismene tries to confess but Antigone won't allow it. And in the end, the two sisters are imprisoned.
Still in 413 but Creon live speaks to a projected Ismene. Antigone is walked out the room and joins the real Ismene - escorted off.
Lighting used 
---
9. Haemon both pledges allegiance to his father, Creon, and asks that Antigone be spared. After the discussion deteriorate, Haemon storms out vowing never to speak to him again.
Traverse in 413 - iphone lights as the two talk. Throughout confrontation, lights go out, one by one.
---
10. Creon choses to spare Ismene, and to bury Antigone alive. As she is dragged out, the chorus express their Sorrow.
One light left on Creon's face. Sound of s body being dragged...etc. 

Projection and video used 
---
11. Tiresias attempts to advise Creon that what he is doing is wrong and that the Gods are angry. The prophecy of a dead son is mentioned.
Tiresias never moves his mouth but what he says coupled with weird underscore is played through speakers of 415.
Projected video played 
---
12. The chorus, terrified, begs him to take Tiresias' advice. Shaken, Creon agrees to release Antigone and bury Polynices.
As many chorus as possible fill cavities of 415 and urge Creon. Three doors and side grated window thing.

---
13. Chorus deliver a choral ode to the god Dionysus.

---
14. Messenger informs Eurydice of Haemon and Antigone's death.
Filmed footage on repeat of Haemon stabbing himself and Antigone hanging, swinging from a branch.
The video repeating itself shows that it's constantly in the minds of Eurydice, which is quite creepy and eery because of the tragic contents.
15. Carrying the body of his dead son Haemon, Creon is then met by a 2nd messenger informing him of Eurydice's death.
Audience back outside looking at tree. Creon walking through the courtyard, holding Creon, confronted by messenger at the tree. Chorus look down from 415.
---

Wednesday, 29 April 2015

29/4/15 - Multimedia lessons and what I've learnt

Lack of posts has lead me to write my multimedia lessons in one big summary. The few weeks we've had for this topic, I've learnt a lot about multimedia and how it is used in Theatre in many different forms. Through the lessons we've learnt about live-feed and the many ways we can use it in a piece. We have learnt about 'Garage Band' and how we can also use that in multimedia performances. We have also been thinking a lot about the main question of this topic, talking as a whole group for the many different answers. 

Live-feed is the manner for which a live broadcast is fed through to you via television or the internet. Live-feed is another use of multimedia that can be used in a piece of Theatre. An example of adding this form of multimedia could be: A conversation between two characters could be taking place on stage, however, one of the characters isn't actually in the room, they are being presented as a projection using live-feed. The character on the stage would be standing next to the projector, responding to the character on the screen as if they're in front of them in the flesh.

Garage Band is an app (and there are many others like it) where you can learn, play, record, and most importantly make pieces of music with different instruments. This app is really useful because you can make your own unique soundtracks to go along with your performance. 

CCTV is an example of live-feed
A screenshot of Garage Band
(Note- please be careful when typing 'Live-feed' onto Google images, I've learnt to never do that again!)

16/4/15 - Recording and choral work

This lesson we recorded the moment of choral speaking and some breath. We recorded ourselves saying the chorus as it will be another element of media usage for our performance, rather than someone just reading it out whilst we perform. We want as many diverse types of media as possible to show what we can do and what we are capable. We also recorded ourselves breathing because that audio can be added in the background of something to give it a more in-depth atmosphere. Adding it to the back of a tense scene would amplify the emotion that is being shown.

As our main question for this term is how we can use media to make a performance relevant to modern-day audiences, we discussed in our groups and as a class, how the pieces we were creating were relevant to contemporary audiences. 
My piece is relevant to today's audiences because we are dealing with the topic of democracies and dictatorships. Creon is a dictator, and his message to the people of his city can give the audience an in-sight of what it is like to live in a dictatorship, as the UK is a democracy, most of us have never experienced being in one.
Our piece of multimedia is a clip of a 'news report' of Creon, showing on one of the TV screens. This is definitely relatable to modern-day because we have Creon giving a speech and answering questions from the press, which we see a lot of politicians do. (E.G. in elections) We also have a small bit of music that plays when Antigone angrily enters the stage, we did this because the use of modern music brings us to modern day more. 

Our main focus today was getting the filming done, and it went very smoothly, with special thanks to Aaron as he is playing Creon for our scene. Aaron already knew the basics of what he was going to say in the video, so he just had to rehearse a few times and then as a group we decided exactly how the lighting would be, where the film would take place, and how Aaron should say his lines. 

Wednesday, 15 April 2015

26/4/15 - Context

Apologies again for the late posting, I have been held up for many reasons but I shall be catching up as fast as possible.

On Thursday 26th March, the cast and I explored the scene between Antigone and Creon. We chose partners (I went with Lloyd) and we were given either one of two scripts. They were two interpretations of the original script, and we had to act them out with improvisation. We were given script '2'.
Version '2'

I really enjoyed the style of writing in this version because it was quite wordy and I think that really works with the whole concept of 'Antigone'. The play is an intelligent, political piece and long, detailed dialogue helps show that.
This scene as very different compared to the other script that was used in the lesson. As this script used formal language, the other did not, it seemed to be a more modern interpretation. With simpler words and smaller passages of speech, I much preferred my script because I feel the other took away the true meaning of 'Antigone' slightly.
The language was very diverse between the two scripts. The language actually changed the character's personalities. My script showed Creon as the bad guy, he seemed more horrible to Antigone while she was only trying to state her opinion. The other script, however, showed Antigone as the one in the wrong, and Creon as the one who was telling her she did wrong, but gently. Two very different interpretations. 

We were then put into groups (Amaia, Lloyd, Tim, Daniela and me) and we created our own version of Antigone, focusing on setting it in a specific context. We especially had to focus on the language that we used.
Rehearsing 
Our group created our own scene of Creon finding out that Antigone had buried Polynieces, and confronting her.
The setting we used was a 'Downton Abbey' vibe, so it was set in a mansion, with everyone being posh and speaking articulate. 
The characters we developed were Creon, Antigone and Ismene. As I'm playing Ismene in the final piece, I'm glad we worked on her character as I managed to get a taste of how us as a cast, interpreted her.
The language we used was stereotypical 'posh', and we made sure to articulate each and every word.

We performed our finished scenes to each other and took down some quick notes, here are mine:

Jed's group

  • School life
  • Smooth
  • Speaking in sync, well rehearsed chorus
  • Gossiping/ranks of status different but worked
Benji's group
  • Social media
  • Humour
  • Well thought out
  • Related to real life
Sherene's group
  • Slang
  • Very different but tells story
  • Swear words showed the anger
Poppy's group
  • Big Brother concept
  • Very clear what is going on
Roseby's group
  • Mafia
  • Serious, more business-like
Harmony's group
  • Very aggressive
Alabama's group
  • Pub setting
  • Antigone is reckless
  • Used the form of losing a job, instead of death
  • Relatable context





Sunday, 12 April 2015

26/3/15 - Set Design 'Antigone'



A task during the Easter holidays was to design and make/draw a scene that would be shown in a version of 'Antigone'. This is my design. 

It is based around the World War II era. I did this as if a war has just ended, as that is what happens in 'Antigone'.

I chose the stage and audience to be straight on because from the way the stage is set, this would be the best way for it to be appreciated. I want the stage to be shown exactly how it is in the picture for everybody. I think this will give the set/stage depth and layers, especially as it will make Creon look more important as he placed at the back, higher than the rest of the set.

This scene would be the prologue to 'Antigone' as it would show Creon announcing that Eteocles will be buried and Polynieces left unburied.

The colours I've used are very simple (blue, red, green and brown) but I've decided to make them duller to show how dirty and run-down things are after the war. The blood on the walls represent the bloodshed of the war, and shows what Creon has to start off with when as he is a very new ruler. 

For the lighting, the whole stage itself would be pretty dark except for spotlights on Eteocles' grave, Creon and Polynieces' body so that they stand out, and it is easy to tell that they are the most important things on stage at the time.

The overall mood I want is a sort of eery silence (apart from Creon's booming announcement) that is in mourning but also dark as it is post-war.

Monday, 6 April 2015

4/4/15 - Research

Some of these blog posts will be transferred into the specific categories, determining on the content of them. But for now they will remain as individual posts until I get round to it.

Thursday 19th March

For the first half of the lesson, we watched a few videos about the historical context of Antigone.


Here are my notes from the videos:
For the second half of the lesson, we were able to finally practise reading parts of the real script. We had to partner with someone of the same sex (I was with Poppy) to play the roles of Antigone and Ismene. We were asked to just read the first scene to each other. As I was speaking as Antigone, I had a few paragraphs to deliver, which I found quite a mouthful to read. As I haven't had a lot of experience with different types of Theatre, this script and how it is set out is another new challenge for me. I found myself tripping over my words as I read out the mini speeches given by Antigone, but I did my best to add emotion and facial expressions/hand gestures/body language when needed. 

What is also weird about the script is how it is written and laid out, there are no stage directions apart from the 'entrances' and 'exits' so it leaves a lot to the imagination when bringing the piece to life. This script reminds me of the 'East-End Tales' script because of this feature. 

We also had to get into partners of boy/girl as we read out a scene that only included Antigone and Creon (I was partners with Eric).  As soon as we started to read the lines to each other, we immediately clicked into our roles, and managed to get the mood of the scene right. I think that having to act from the script straight away without analysis is really helpful for an independent thought process, it made me think for myself of the character traits everybody has, and their personality. 

- Matilda ^_^

Saturday, 4 April 2015

EXPLORING THE TEXT

Throughout this unit, we payed the most attention to two particular scenes, the conversation between Antigone and Ismene, and the conversation between Antigone and Creon.

Antigone and Ismene
When analysing this scene we picked out how and why Antigone and Ismene were so diverse as characters. We explored the characters by discussing the choice of language being used and how we think they would say their words and then we brought it to life by acting it to each other in pairs. We read out the scene to each other multiple times, trying new ways to say certain passages of speech, to be able to connect with how the certain character must have been thinking/feeling. From doing this research, we discovered that Antigone's personality is much bolder than Ismene's. She speaks her mind confidently and plans to carry out what she thinks is right, even if it's defying her uncle's law. Ismene, however, has been written as a typical woman of the Athenian times, she is much more obedient to the laws and won't do anything against her government. She isn't heard as much as Antigone because she is much quieter and 'well-behaved'. 

Antigone and Creon
For this scene we focused on what men thought of women by the two character's argument. Just like the other scene, we got on our feet, chose partners and we acted out a couple of times, how we thought the characters said their lines. This relationship is very angry, mainly on Antigone's part. The vibe I got from the scene was that Antigone was extremely angry with Creon because of his lack of care and respect for the Gods, and Creon is annoyed at Antigone but understands her struggle, because he must feel sympathy for her, but at the same time the rules that she broke were his own laws. This all linked to historical context because of the difference in how women were treated compared to men in Athenian time. Women were seen as a lower class then men.

WOMEN IN GREEK THEATRE

After watching a video about women in Greek Theatre: https://www.youtube.com/watch?v=lM3SxO0Erq8 I managed to gather a lot of notes about the subject:

  • Women were seen but not heard, they were seen as being in the low pecking order
  • There are so much more women being portrayed in Theatre now
  • The plays were written by men and performed by men for men to watch, women weren't allowed to have anything to do with it
  • They lived in a society where women were seen as the underclass
  • Antigone was very different to how other women were seen, she had a huge personality and great intelligence, so many people thought it was strange. There were also many powerful Goddesses in the Greek world
  • Some ancient scripts say women are annoying, "It's better to bury a woman then marry her."
  • Some people, however, recognised how important women were. They may not have had a political voice or have been let out of the house, but they were very useful in the Ancient Greece society. They created new life/children and they ran all of the main religious festivals
  • In tragedies, the tension between recognising women's importance and the need to control and subdue them worked really well
  • They always dealt with issues of sexism through theatre rather than real life because it was safer, as it made everything seem quite unreal/fantasy
  • Antigone wanted to bury her brother, and she was so passionate about it because a burial of someone is a religious offering to the Gods, and women were very devoted to their religion
  • It seems that in Athenian times, if you weren't a white male who's over 30 and is more wealthy than the average citizen, you had a much easier time being heard politics-wise
  • In the plays, the women were always the characters doing the most extreme deeds, and this allowed the audience to relate more to them as they gave off more strong/extreme emotion

CULTURAL CONTEXT

There were four main performance conventions in Sophocles' time:

  1. Verse
  2. The chorus
  3. Acting and masks
  4. Stage, devices, levels of acting area

Verse
All Greek dramas are poetic dramas. The characters speak in verse, either through dialogue or choral song. Iambics were used in a lot in the character's dialogue. 

Iambic - a metrical foot consisting of two syllables, a short one followed by a long one.

An example of Iambic Pentameter:
Shakespeare's 'Richard III' (Act 1, Scene 1)

Now is the Winter of our discontent
Made glorious Summer by this Sun of York;
And all the clouds that lour'd upon our house
In the deep bosom of the ocean buried.

Choral passages were sung and accompanied by dance. Dancing along with dialogue was very common in Greek Theatre because the Theatre was built around a dance floor. 

Chorus
The chorus wore masks
Every tragedy has a chorus, they sing and dance between episodes. In a tragedy, this will usually sing a light-hearted song after an emotional episode, to lift everyone's spirits a little before continuing with the play. 




Acting and masks
Examples of masks in Greek plays

Masks were a constant feature in Greek plays. Masks meant that detailed facial expressions couldn't be seen, but if you had the mask off anyway, the audience were so far away that they wouldn't have been able to see it. So the mask helps give a bold picture of what the character is thinking/feeling by the clear face on the mask, and by a bold body movement. 






Stages, devices, levels of acting area
Illustration of  the flying machine

Plays were always performed outside in the daytime, so if actors wanted to represent the night-time, they had to light a couple of torches. There was moveable painted scenery to change the scene. A machine was also invented to lift the 'Gods' onto the top at the end of a performance. 
     







Along with masks, costume was very important in Greek Theatre. A general look would consist of a full-length/short tunic, a cloak and soft leather boots. Tragic actors were heavily disguised and this had a religious purpose. The actor was to give up his identity in order to let another speak and act through him. Costumes were usually an elaborate version of their everyday clothes: robe, overgarment, short cloak, short lace-up boots, another overgarment and a cloak.                                                                   

SOCIAL CONTEXT OF ANTIGONE

Social Context - the immediate physical and social setting in which people live or in which something happens or develops.

The 5th Century BC was a big turning point for Athens, it was a new society. It had a new judicial system, new military organisation and a new navy. It was wealthier than previously and it was sure to show every other city, including Sparta and Corinth. 

Aristocrats
Most Greek city-states at the time had oligarchic governments (meaning the government was led by a few) and were run by a few aristocrats of that city-state. Athens had previously experienced this way of government too but from the 6th century BC onwards, Athens developed into a democracy. Pericles (Athens' leading statesman) said "Our constitution is called a democracy because power is in the hands not of a minority but of the whole people." So in Athens, the aristocrats had lost their complete power of government and religion, but were still seen as very important people.

Citizens
An Athenian citizen was the male child of two Athenian parents. Out of a population of 315,500, only 172,000 were citizens, without including women. The lowest class (the thetes) benefited immensely from the new democracy and were very supportive of it.

Metics
Metics were 'resident aliens' with no political rights in Athens. In 431 BC there were approximately 28,500 in Athens and they weren't allowed to own land and couldn't obtain citizenship. Many metics became very wealthy because they were involved in trade and industry, and soon the citizens started working for the industry too, working side by side with the metics. 

Slaves
Slaves made up the lowest class of the population with 70,000 in Athens. Privately owned slaves worked in the upper class houses and held many positions of trust. State slaves worked on the roads , in the dockyards and on public buildings. A few ways in which where a slave came from:
  • Prisoners of war
  • Unwanted children, abandoned and left to die
  • Children/men who had been sold into slavery for debt
  • Children/men who had been born and brought up into slavery
I think the target audience of 'Antigone' were citizens and also aristocrats. The Athenian citizens corresponded to the basic tenet of traditional Greek religion: humans both as individuals and as groups paid honours to the gods to thank them for blessings received and to receive blessings in return. Honors consisted of sacrifices, gifts to the gods and festivals. Athenian citizens were expected to have respectful qualities (like openness,) a rational mind and belief in their authority. 

Antigone herself was very loyal to the Gods and she believed in them more than the laws of the government, this can relate to how much the citizens worshipped the many gods. Creon was influenced by the harsh government, before the new democracy took place. Only men used to go to watch the theatre as women weren't allowed. 

The relationship between Theatre and politics is that if you make a piece of theatre based around politics, especially making it relevant to the current events, the audience members may take in the importance of it more, same goes its relationship with religion. I think that if you take a subject of any matter and perform it on stage, it will make the audience think and it will actually styay inside their heads more.

CURRENT EVENTS

The Theatre piece 'Antigone' was created by Sophocles in 442 B.C.E
Year 442 BC was a year of the pre-Julian Roman calendar. It was written at a time of national fervour, with fervour meaning ´great warmth and intensity of emotion´. In 441 BC Sophocles was made one of ten generals to lead a military expedition to Samos, a Greek Island in the eastern Aegean Sea. It was a rich and powerful city-state, particularly known for its vineyards and wine production. 

I have gone through many timelines of Ancient Greece. In 422 BC, Cleon (an Athenian statesman and a general during the Peloponnesian War) and Brasidas (a Spartan officer during the first decade of the Peloponnesian War) meet outside of Amphipolis (a municipality in the Serres regional unit of Greece). They both die there during the Battle of Amphipolis. 

The Peloponnesian War (431-404 BC) was an Ancient Greek war fought by Athens and its empire against the Peloponnesian League led by Sparta. The reasons for the war are:

  • The Spartan fear of Athens's growing power and prosperity.
  • Athens made an alliance with Corcyra, Rhegium and Leontini, this endangered food supply to the Peloponnesian city.
In 421 BC, was the peace of Nicias. The peace of Nicias was signed to mark the end of the Archidamian War (the first part of the Peloponnesian War), however, as soon as it had been signed, it immediately collapsed because Thebes refused to sign it. 

Amphipolis 
In 450/449 BC, Athens signed a peace treaty (Peace of Callias) with Persia. But from 449 to 448 BC, Athens had the second sacred war with Sparta.

I couldn't find any huge historical events but at the time, law and politics was a common discussion point in Ancient Greece. Just like Creon, laws were given out by one person and fail to abide by those rules, meant a horrific punishment, most usually death. There was only one religion and one set of Gods in the times of Ancient Greece, and everybody worshipped them. Sophocles' pieces always included the Gods because they were a topic of discussion that never went away or got old. The whole play was about the consequences of not abiding to the God's rules, and that what the God's want is more important than the rules and laws of man. 

Samos



4/4/15 - Multimedia research

Many apologies for the lack of posts, let's just say I have a lot of catching up to do! We are on week 3/4 of our work on 'Antigone'. Here are some posts from the weeks that have passed. 

Monday 16th March 2015

A summary/introduction to multimedia in theatre was given to us and we watched and analysed videos about it. I had already done a bit of research before-hand so I understood everything that was being discussed. We watched three videos and took notes on each:

Exploring multimedia in Katie Mitchell's productions
Devising a multimedia production
Acting in a multimedia production

This is the information that I gathered:

  • You have control over how the audience feels towards the piece.
  • The multimedia on display shows the chaos of real life.
  • You know that whoever is watching the piece is interested in both the film and the multimedia.
  • Directors in these performances are more known to be the editor. The actors bring the ideas of their own to the table.
  • Once a paragraph is set, they take a picture to eventually create a story-board.
-Matilda ^_^



Sunday, 29 March 2015

25/3/15 - Research in multimedia plays

As part of my research for the multimedia side of my project, I have been asked to find a production that incorporates different forms of media. The question I've been asked to think about is: "Within a Theatre production, how does the use of multimedia help in its communication to an audience? What does it add to the piece?" 

The production I have chosen to talk about is 'The Wind-Up Bird Chronicle', a production based on the novel by Haruki Murakami:

NY Workshop Production Trailer

I found this performance/video extremely interesting to watch because the show itself looks very gripping. The use  of multimedia is very unique, interesting and smart in the way it has been presented in the piece. 

It is said that "'The Wind-Up Bird Chronicle' employs a dynamic blend of theatrical elements to create a hypnotic "theatre of dreams"". This is shown with the help of hypnotic soundscapes, puppetry, and most importantly, film/video projections and audio speakers. 

I think that the use of projection is the most interesting part about the play because it is used in so many ways. Scrims, set pieces, hanging laundry, bed sheets and actors' bodies are used as the projection surfaces, and I think that is really creative because it gives the film texture in a way, with all the bumps and kinks in material. The use of projections like this also give the dreamy effect as it makes everything slightly distorted and a touch out of reality.

The audio speakers are placed, surrounding the audience to enhance the experience, and to, in a way, pull the audience into the play more, so they feel engaged properly. Some characters only appear in film, which gives it a sense of another reality, which is again reverting back to the 'hypnotic' and 'dreamy' effect of this piece of Theatre. 

The Guardian Review - With 2/5 stars, this wasn't very favourable with 'The Guardian' because they thought the multimedia aspects of it smothered the actual context of the show itself, leaving the audience uninvolved. 

The Telegraph Review - 'The Telegraph' gave this piece of Theatre 4/5 stars, so a completely different opinion and view. They thought that the images were stunning, creating a 'dreamscape'. 


Thursday, 26 February 2015

23/2/15 - Greek theatre research


A new blog for a new project, this time we are focusing on Ancient Greek plays. In a couple of weeks’ time we are going to be performing the Greek play ‘Antigone’ using multimedia to help us. This session we are stuck inside the library doing research, so unfortunately no practical work today. But this lesson will give me a chance to really dig deep into the world of Greek theatre and help me understand the context of the project more. I have a feeling that this blog post will be pretty long! Here are a lot of questions we had to answer to start off:

Task 1
1. When were ancient Greek plays performed?
Ancient Greek plays were performed on special occasions and religious festivals, and the plays were performed in open-air theatres.
2. How many years ago was this?
This was around the time of 700 BC. Tragedy was in the late 5th century BC and comedy was in 490 BC.
3. What different types of plays were performed?
The different types of plays performed were comedy, satyr plays, and most importantly, tragedy. Comedies were mainly satirical and mocked men in power for their vanity and foolishness. The first master of comedy was playwright Aristophanes, but later Menander started writing comedies about ordinary people, almost like sitcoms. Tragedies dealt with big themes of love, loss, pride, the abuse of power and the fraught relationships between men and Gods. Typically the main protagonist commits a terrible crime without realizing how foolish he had been. Once he slowly realizes his error, the world around him crumbles apart. The three great playwrights of tragedy were Aeschylus, Sophocles, and Euripides. Satyr plays are short plays that were performed between the acts of tragedies and made fun of the plight of the tragedy’s characters. The satyrs were mythical half-human and half-goat figures.
4. What is a traditional Greek Theatre called?
A traditional Greek Theatre is called an Amphitheatre and some famous Greek Theatres are: Theater of Dionysus, Odeon of Herodes Atticus and Theatre of Zea.
5. What shape was the theatre?
The shape of the Theaters were a semi-circular shape. The Greeks enjoyed singing and dancing and at first they were only used for festivals. They were built on hillsides in the open air and could often hold more than 18000 spectators. the seats were built from stone, around the edge of the stage.
6. Find a picture of a traditional Greek Theatre for your blog.

Traditional Greek Theatre 

7. Why were the theatres built this way?
The theatres were built this way so that even the spectators in the back row seats could see everything that is happening. So ultimately i was so every member of the audience had at least a decent view of the stage.
8. What different scenic elements are there?
The different scenic elements in Greek theatre were at first none, because theatre was still very young in evolving, the audience had to rely on their imagination to set the scene. Sometimes in open-air theatres, the scene was what was around the theatre, so the wildlife and nature. A skene started to appear (AKA ‘scene house’) where it stored props, served as a changing room and allowed actors to enter and exit through multiple entrances. The first traditional scenery appeared around the time of Sophocles. At first the images were painted on the walls of the skene, which soon led to panels called pinakes and eventually to periatoki, a three-sided pivoting triangle with a different scene painted on each side. The deus ex machina (‘god out of the machine’) was a crane used to lower an actor into the scene. Later productions introduced the eccylema, wheeled platforms that carted furniture or even ‘dead’ bodies onto the stage.
9. Who sat on the seats at the front?
The seats at the front were reserved for the priests, especially the seat of honour was reserved for the high priests of Dionysus.
10. Could women take part in, or attend the plays?
Only Greek men were allowed to take part in and attend the plays unfortunately.
11. Name some of the Greek playwrights and their plays.
Sophocles (497 - 405 BC) wrote Antigone (442 BC), Electra (410 BC) and Philoctetes (409 BC).  
Aeschylus (525 BC - 456 BC) wrote The Seven against Thebes (467 BC), Agamemnon (458 BC) and Eumendis (458 BC).
Euripides (480 BC - 406 BC) wrote Alcestis (438 BC), Heracles Children (430 BC) and Hecuba (424 BC).
Aristophes (452 BC - 358 BC) wrote The Wasps (422 BC), The Clouds (419 BC) and The Thesmophoriazousse (411 BC).
12. What did the audience throw at the actors who performed badly?
If the actors performed badly, the audience would throw rotten vegetables. However, if the actors performed well, the audience would throw money and stomp their feet and clap.
13. What did the actors wear?
The actors wore costumes and masks all the time. If it was a tragedy they would wear really dark colours, but if it was a comedy they would wear bright colours like red and green. They would wear wooden boots with thick heels (cothornous) to appear taller on stage. Padding was used inside costumes if a character needed to look bigger than the others.
14. How did the audience sat at the back of the large theatre hear anything?
The acoustics in an open-air theatre are extraordinary. The key to great sound is the arrangement of the stepped row of seats. They suppress the low frequency sound of the major component of the background noise, while passing on the high frequencies of the performers’ voices.
15. Who is Dionysus?
Dionysus is the god of the grape harvest, winemaking and wine, of ritual madness, fertility, theatre and religious ecstasy in Greek mythology. His parents are Zeus and Semele.

16. Why is he important to Greek Theatre?
Dionysus is important to Greek Theatre because he fosters intoxication, which can lead both to positive release and to self-destructive passions and actions. Dancing is a major part in the worship of Dionysus, which shows a celebration of freedom from self-consciousness and constraint. He has a dual nature, on one hand he brings joy and divine ecstasy, and on the other he is brutal and unthinking. (Showing both sides of the effects of wine). He is important to Greek Theatre because he brings joy and entertainment to the people.

17. What is a Greek chorus? 
A Greek chorus is a homogeneous non-individualised group of performers in the plays of classical Greece, who comment with a collective voice on the dramatic action. 

18.  What purpose to the Chorus have in the performance? 
The chorus offers a variety of background and summary information to help the audience follow the performance. It comments on themes, and shows how an ideal audience might react to the drama. 

19. How and why were masks used?
The masks were used to show a change in character as a lot of the time, there were very few actors performing the play. They were also used to show a physical change in a character. The masks were also made to help project the voices of the actors. 

20. What were the masks made of?
The masks were made of light weight, organic materials like stiffened linen, leather, wood or cork, with the wig consisting of human or animal hair.  


  • As 'Antigone' is a tragedy, Sophocles wanted the audience to feel connected and relatable with the characters, so they would feel pity for the protagonist as they slowly get worse throughout the performance.
  • 'Antigone' is seen to be the original inspiration for someone fighting against the system.
  • The protagonist is a young woman so that does make a change, it is refreshing even still to this day.
  • The directors (when composing 'Antigone' in 2012) didn't want the play to move away from the political context/thriller.
  • They made the play contemporary by making the main setting in an underground bunker, and for that they got lots of inspiration from taking trips to many bases, like army camps and abandoned warehouses.
Task 2

Multimedia in performance is the use of different technology being used in a piece of theatre to make it more unique and dynamic. 

TYPE OF MEDIA
EXAMPLE OF USE IN PERFORMANCE
POSITIVES OF USING IT…
NEGATIVES OF USING IT…

VIDEO CAMERA

PROJECTING FILMS ON THE BACK WALL
EASY WAY OF CHANGING THE SCENERY
IT COULD GLITCH, THE VIDEO MAY NOT WORK

MOBILE PHONE

USING THE FLASH LIGHT AS THE ONLY SOURCE OF LIGHT
PORTABLE, EVERYONE HAS ONE FOR MORE EFFECT
IT COULD RUN OUT OF POWER

PHOTOGRAPHY
A SLIDESHOW PLAYING A SERIES OF PHOTOS
DIFFERENT TO USING FILM, UNIQUE, ARTISTIC
MIGHT JUST LOOK LIKE AN ART GALLERY

LIVE FEED
DURING A DRAMATIC/EMOTIONAL SCENE
GIVES AN EFFECT TO THE AUDIENCE BECAUSE OF THE MULTIPLE SHOTS
COULD BE QUITE BORING TO LOOK AT SOMETIMES

CARTOON ANIMATION
PLAYING IN THE BACKGROUND OF A SCENE
FUN TO WATCH, INTERESTING, DIFFERENT
MIGHT TAKE AWAY THE REAL ELEMENT OF THEATRE

LIGHTING

MANY PURPOSES
GIVES AN ATMOSPHERE
MIGHT BE DISTRACTING FROM THE ACTUAL ACTORS
---
---------

A Theatre performance I have seen that has a lot of technology used in it was 'The Curious Incident of the Dog in the Night-time' by Mark Haddon. The main multimedia tool it included was sound and especially lighting. The lighting was very planned out and specific and it matched all the physical theatre in the show. The sound really helped give us an idea of what it is like to have aspergers as the music would get very loud and then quiet. Here are some photos from the performance for a visual reference:  


  • You may have to work together on one character, like someone is speaking your role for you and then someone is being your hands for you.
  • It's like making a film live. The audience are watching the film that the actors are making then and there on the stage.
  • You are using both sides of your brain, the creative and the technical. 
  • There is no script.
  • It's very filmic, you perform everything to a camera in small acting, it's very internal.
  • It's weird when you back to conventional acting again.
Task 4


After reading the synopsis of 'Antigone', I'm really looking forward to actually start rehearsing because this tragedy is pretty huge and dramatic and I've never done anything like it before. I think Sophocles wrote this play as a way of teaching the spectators the consequences of being arrogant. I think the Greek audiences might have wanted to see this play because it is about politics and the plot in the story might have been relevant and relatable to that present day.

I was asked to read the first scene from 'Antigone' and these are my answers to the questions: At the beginning of the scene, Antigone tells Ismene that Creon has passed the law that the 'traitors' who died fighting against the state will not be buried, but will be left to rot. Both of their brothers have just died and only one is going to be buried. Antigone plans to bury Polynices in secret out of respect because she doesn't like Creon's new law, and she doesn't find it fair. Ismene doesn't plan to join Antigone because she is afraid of Creon. The chorus tell the story of the battle, the Argive army attacked 7 gates of Thebes all at once during the middle of the night.

I think it's safe to say that this is enough research notes! I'm looking forward to putting on this tragedy with the multimedia element!

-Matilda ^_^