Task 4 Written Task

Task 4 Written Task

Performing arts production process evaluation

1.      What was your production role? Evaluate the strength and weaknesses in this role. Be detailed in your response.

For this production of Great Expectations I was part of the movement team, which means we would somehow incorporate a piece of physical theatre movement or a certain dance but unfortunately because of the style of the direction we did not have the opportunity to fulfil my potential as a movement director. If we did have the chance, we planned to incorporate some sort of movement routine into the play and we thought about where we could put a movement piece in the play and how. We made a timetable of when we could fit a rehearsal in without interrupting lessons or line rehearsals with the directors so we asked if we could do some classes after lunch on Mondays for an hour or for an hour after school on a Monday or a Thursday if possible.

We wanted to make the change over between all the Pips and the Estella’s and the changeover between Act 2 Pip and Estella a movement piece because it put excitement into the play and would have kept the audience engaged if they weren’t already.

One of the weaknesses of this production role was us not getting a chance to do anything with the performance after planning everything and having it set out but if we would have got the chance to do it would had been very successful as we did have everything planned and we would have confirmation from directors to take the cast out and rehearse with them and confirmation to be part of the production.

One of strengths of the production role was the fact that we had everything planned and ready to take the next step which was teaching the cast. And that note I am proud of my overall input to the production role and organisation.

2.      What character did you play in the production? Evaluate the strengths and weaknesses in this role? Evaluate the strength and weaknesses of your rehearsal technique and your performance.

I played Pip in Act two of Great Expectations. My strengths were listening to directions, responding to feedback, creating healthy relationships with other members of the ensemble, worked well in the ensemble, I also built up a good relationship with the cast members in my scene and overall I had a successful rehearsal process.

My weaknesses were not learning lines quick enough to have full run through and functional rehearsals and not developing my character until later on when I should had done it earlier.

Also not always writing down blocking and forgetting when and where to come on and my focus wasn’t as good as it should have been. I

What are you proud of in your production role?

I was proud of my planning and choreography ideas.

What could you have done differently to be more effective?

Worked with the pip chorus and made the movement happen.

Production Role Letter

Movement Team

Dear Mr Rennison

I am writing a letter to you about being apart of the Movement Team for this production, I think I'd be perfect for this role because I have experience within the Movement industry. I started dancing from about the age of 7 and haven't stopped since then , I went to classes every week for about 3 years and I was in my own dance group called Elite. I think me having experience in movement/dance is a big part of getting this role I am also able to teach routines to classes and I am willing to take time out of my own to work with the cast for this production. I am very organised and I can show a lot of commitment, I will make sure everyone is on task and make sure myself and team members if there are any, are on task and have everything planned. 

I want to bring up my past in dance because I feel that you need some experience if you are going to be working with students and teaching students, I feel that I can offer that because I've been in dance lessons and I've seen how it is and how it can get. Experience is key so I'd like this role because I have a passion for movement and dance and I think I have the skills to be given the role such as: 

- researching

- responsibility 

- confident in dance 

- experience In dance

And many more. 

I also studied physical theatre for a year at The BRIT School Of Performing Arts and got a distinction for a physical theatre piece I done whilst studying it.

Production Role

Production Role

Movement Team

 

I was apart of the Movement Team during the performance process for Great Expectations, along with Two other members. We planned to encorporate some sort of movement routine into the play and we thought about where we could put a movement piece in the play and how. We made a timetable of when we could fit a rehearsal in without interrupting lessons or line rehearsals with the directors so we asked if we could do some classes after lunch on Mondays for an hour or for an hour after school on a Monday or a Thursday if possible. 

We wanted to make the change over between all the Pips and the Estellas and the change over between act 2 Pip and Estella a movement piece because it put excitement into the play and would have kept the audience engaged if theyweren't already.

1. What is your task in this production? What are you responsibilities?

My task is to encorporate a piece of choreography/movement into the play Great Expectations.              

   2. What have you done so far?

So far we have planned where to put the choreography in and we have made a timetable for rehearsals and asked for permission from directors to have rehearsals.

   3. Outline the main stages of your production job in terms of preparation, planning and delivery.

 I have prepared an huge amount such as taking on a class of almost 50 students, taking my own time out to come up with a routine and take time out for rehearsals. We have planned the whole thing and know the stages step by step. And we are about to start rehearsals and classes and start to teach the cast members the steps. 

  

   4. Identify the next steps required.

The next steps are rehearsals for he cast. 

   5. How are your ideas working? Have you adapted or made any changes?

Ideas are going well directors are happy with what we have come up with and how we've chosen to put them into the performance. 

   6.How are other peoples' ideas working? Have you used any?

They are also good but we have decided to stick with are original plan and first ideas. 

   7.How does your job fit in to the production? How do other people rely on your work? How do you     make sure that what you do fits in with the overall plans?

My job role fits in quite well into this production seen as are ideas are more physical movement and also some dance from that era. It's mainly the cast that rely on our work because we have to teach them the steps and use their time for a good cause because they also have a lot of work to do themselves, so that means we have to be on task and up to scratch on the routine in order for the cast to get it as quickly as possible.

Year 11 production

Student name	Tyler Benn-Riches
1st choice	Music Team
2nd choice	ASM
3rd choice	Choreographer

Please give reasons why you think you would be able to be effective in your first choice of production role

Year 11 production roles
JOB	RESPONSIBILITIES What planning/preparation, skills & tasks are involved? What materials/equipment is needed? What obstacles to get in the way of the job being completed by performance? How could these be overcome?
DSM	A stage manager must have the temperament and ability to get along with people in both the artistic and technical sides of theatre, and to understand what they do. It is part of the attraction of the work that each new job will introduce new and different challenges. Stage managers should be good planners and organisers, with a knack for multi-tasking, prioritising and keeping calm under pressure and in a crisis. And being fairly technically minded is a help!
ASM	They should be there to back up the DSM (deputy stage manager) by taking messages, phone calls etc. and assisting in general, including taking over the DSM’s duties when required. Duties include: helping director and artists with errands etc. when they cannot spare their own time, checking props, furniture etc. operating sound and other technical equipment etc.
CHOREOGRAPHER	Choreographers work with actors and dancers to teach them the required steps and routines for the show. They often either work with, or also work as, movement directors and fight directors. All three jobs exist to help the actors to use the physical space around them in the best way, and to complete entertaining, safe and convincing dance, movement or fight routines on stage. Sometimes a show will employ a separate choreographer and movement director. On other occasions, a single person will fulfil both roles. The movement director may also handle fight direction, or a third person may do this job. Choreographers are employed on any musical theatre shows, but even on productions which only have one dance number, they create the dance, and may be involved in teaching the steps and routines. - See more at: http://getintotheatre.org/job-profiles/details/choreographer#sthash.z1rFDS4e.dpuf
DRAMATURG	If a production team choose to mount a pre-existing play script, whether a translation of a foreign text or a “classic” English language piece, they can employ a Production Dramaturg to become responsible for the “Dramaturgy” of the text. Put simply, the main role of a Dramaturg is to become the playwright’s representative in the production. That’s to say, it is the job of the Dramaturg to know as much about the play, its language and the context surrounding its creation as the original playwright did.
MARKETING TEAM	The marketing manager’s role is to promote and sell tickets. To do so, they manage all aspects of the theatre’s publicity and advertising material which includes fliers, posters, press adverts, brochures, newsletters and websites. They oversee their content, design and production and arrange distribution of all printed material. Sometimes, in smaller theatres, this role includes press and public relations.
DESIGN TEAM	This will be made up of 3/ 4 people : Costume designers create the look of each character by designing clothes and accessories the actors will wear in performance. Depending on their style and complexity, costumes may be made, bought, revamped out of existing stock or rented. Their designs need to faithfully reflect the personalities of the characters in the script. The shapes, colours and textures that a costume designer chooses make an immediate and powerful visual statement to the audience. Creative collaboration among the costume designer, the director and the set and lighting designers ensures that the costumes are smoothly integrated into the production as a whole.
TECHNICAL TEAM	This will be made up of 3 / 4 people:
COMPANY MANAGER	The company manager is responsible for all aspects of the staff’s welfare, including dealing with pay. They travel with the touring company. They are the most senior member of management backstage during a performance and are the connecting person between performance staff and the producers’ office. They will usually have a temporary office close to the green room.
MUSICAL DIRECTOR	Music directors are responsible for overseeing orchestras, choirs, and other ensembles. They often arrange and direct musical numbers, and direct musicians and vocalists during concerts, plays, and other performances. These professionals work in a variety of settings, including schools, churches, orchestra halls, and movie and radio studios.
MUSIC TEAM	A form of theatrical performance that combines songs, spoken dialogue, acting, and dance. The story and emotional content of a musical – humour, pathos, love, anger – are communicated through the words, music, movement and technical aspects of the entertainment as an integrated whole. Although musical theatre overlaps with other theatrical forms like opera and dance, it may be distinguished by the equal importance given to the music as compared with the dialogue, movement and other elements. Since the early 20th century, musical theatre stage works have generally been called, simply, musicals.
FUNDRAISING
MAKE UP	A Make-Up Artist must skilfully transform the human canvas into the desired character or appearance within an allotted timeframe. They will often work with their clients to enhance their physical features and create a flawless appearance. Professional and well established Make-Up Artists can also serve as columnists and editors for beauty and style magazines. They may serve as experts on panels and write books and have their own blogs on the subject of make-up application. Make-Up Artists must have a broad range of common skills, but can specialize in many different types of make-up and application techniques including: ·         Special Effects ·         Prosthetics ·         Theatrical ·         High Fashion ·         Airbrushing ·         Light Bending ·         High Definition

Dear Ms Goodall, 


I feel like I can successfully be a part of the music team. I have a good sense of what songs suit different emotions. I feel like it was a brilliant choice of music to evoke emotion and feeling in the audience. These are some of the things I'd be able to do; - Choose different music - Mix samples and music I love working in a team and feel like I can offer suggestions and ideas as well as co-operating with others. Furthermore, I can keep a log of music and the queues when different music comes in. Yours sincerely,