Drama

The Diary of a Young Girl is a subjective story of Ann Frank’s personal experience during the Holocaust. Ann Frank’s diary was written at the time of the event she has not had time to reflect on her experience and will often give exaggerated anecdotes. Ann Frank’s voice is an immature, naive, youthful voice she is a hormonal thirteen year old girl. When I came here, Father told me about prostitutes, etc. , but all in all there are still unanswered questions”. Frank does not have the authority Chang has; the responder makes allowances by taking what Ann says with a pinch of salt. The diary of a young girl entertains the responder with her interest on the development of her body, sex and her interest in boys this can be seen in her constant questioning. The responder will take Frank’s narration with consideration as she is a thirteen year old girl who will often use exaggerate. Elements belonging to personal stories enable audiences to gain wider insights and perspectives into stories.Ann Frank is a character who is quite loveable; Frank is a typical teenage girl the responder perceives Frank as a positive persona for the situation she is in. Although Frank is growing up in a corrupting society she is still talking about stereotypical teenage conversation such as boys and fighting with siblings. Despite her situation Frank gets on with her life “I live in a crazy time”, Ann Frank shows naivety and needs to be protected this manipulates the audience to empathise her suffering. Her Diary entries are typical of a thirteen year old such as gossip about school friends and jokes.Frank is in a terrible situation during WWII and the holocaust, Frank’s positive view intrigues the audience into loving her character. The responder gets an insight into the frightening atmosphere the Frank family endured through Anne Frank’s use of first person and detail. Ann Frank’s story is a voice for those who were harmed because of their ethnicity, race or colour. The Diary of a Young Girl by Ann Frank reveals the racial segregation Jewish people faced during the Holocaust in the 1930’s and 1940’s. HSC Online Recommendations for Critical Analysis: Important questions to ask yourself: Do I enjoy research? • Do I have access to enough resources? • Do I have areas I wish to explore that are within the perimeters or the research criteria? • Do I have a clear area of focus within my set topic? • Will I be able to make solid conclusions from the materials I research and the topic I have chosen? • Do I have the time to do this task adequately? • Do I have a solid knowledge of language and clarity in my ideas and expression? • Do I have access to a computer where I can edit, type and amass my ideas and eventually present them in the correct format? Unique:The Applied Research Project gives you the opportunity to frame your own specific area of study within a topic of interest to you. It gives you the further opportunity to approach it using any sources or resources at your disposal and to conduct research at your pace. Furthermore, because it is a constant work in progress you do not have the pressure of performing and being assessed on the ‘day’ but being able to present your months of work in submitted form and thus all your process can be evidenced. Skills: • The ability to synthesise information • The ability to communicate ideas The ability to make assumptions and assertions from well-rounded sources and evidence • An ability to use language concisely and appropriately • Good analytical skills HSC Online Recommendations for Performance Individual Project Christmas holidays plus Year 12 term one: Begin performance practice, before an audience, with a short dramatic work. This may be the piece you are presenting for the HSC or something else. Year 12 term two: decide on your piece and perform it within the set time, remembering you will be stopped if you go overtime. Year 12 Term 3: Polish your piece and make it performance ready.Checkpoints: • Do I understand the requirements of the project? • Do I know the type of performance I want to present? • Have I looked through a large number of scripts? • Is the text I’m studying being studied by me in any other part of the HSC? (You cannot perform a play you are studying anywhere else in the HSC) • Have I performed for an audience? • Have I checked the timing of my performance? • Have I organised my costume and props? • Does my performance display strong characterisation? • Is my performance coherent? • Do I know my lines? Tips (10): • see plenty of performances • get some performance practice read past exam reports • don’t forget it is a performance and not just a speech • know how to use your voice • use minimal props • don’t rush your performance • ensure you have an appropriate relationship with the audience • don’t rely heavily on recorded sound • know your lines • know your performance space and use it well A list of pitfalls: Students fall into these traps: • thinking they have plenty of time and failing to complete the performance project • not knowing the lines • not working with an audience during the development of the performance. • leaving all your performance until the last moment relying too heavily on props, costume or sound during the performance. • going overtime • going undertime Generating ideas Brainstorm Possible themes, situations, characters, settings, performance styles and other material that interests the student. Select Students should select material which interests them and has possibilities. Research Collect newspaper and magazine articles, samples of scripts, extracts from plays, poems, monologues, short stories, pictures, song lyrics, letters, scenarios or advertisements. Trial Trial some of the material by reading, dramatising and improvising dialogue, movement and theatrical styles. This could be done with partners). Shape and analyse your material Select, write, redraft, adapt and edit while focussing on the idea of a one-person performance. At this point a concept should begin to emerge from the material. The performance at this stage may be a work in progress which will eventually evolve into a full performance. Staging the material Consider the material in terms of a whole integrated theatrical performance. There needs to be a sense of a beginning, middle and end within the performance. It is not simply an audition piece. The following questions need to be considered: • What is engaging about the performance?How can the engaging elements be emphasised? • Is it clear what the performance is about? • What are the key moments? How do the staging andbtheatrical techniques heighten these moments? • How are setting, mood, situation and character established? • Is there enough variety, i. e light and shade ? • Does the blocking keep the audience interested? • Are there any transitional moments? How do these add to the performance rather than detract from it? • How does the character develop within the piece? • Is the stage space used effectively, maintaining a clear actor audience relationship? Creating the characterStudents should have developed reasonable skills and resources for creating and developing a character in the preliminary course. These skills should be used as the basis for character development. The following strategies will help students create a character; • Develop a character profile. • Analyse the character’s motivation and subtext. • Exercises in physicalising the character: stance, movement, gestures and facial expression. • Develop the character’s voice, focusing on key words, expression, timing, etc. • Create a sense of the character’s development from start to finish. Incorporate business (attributes and actions) that reflects the character and his or her emotional state. • Include essential props and costumes. • Hotseat and use other belief building exercises that involve the rest of the class. Adding production elements Students need to approach this area with caution. An over reliance on production effects can detract from an effective performance. The rule of thumb is that the focus should always remain on the performer and production effects should be minimal and limited to those essential to the work’s meaning (Creative Arts KLA Handbook. Page 69). Production guidelines Setting: use only what is required on stage to suggest the setting, or what is actually used by the performer. • Costumes: costumes should complement and enhance the character. Remember that performers in dark colours can be lost against a dark background. • Sound: often provides an effective introduction to the mood and location. It may also give a performance a sense of completion or provide a heightened effect to a dramatic moment. Ensure you obtain a good quality recording. • Lighting: should be kept simple and not used to solve staging problems. It is usually best to use the lights up at the start and lights down at the end approach.Avoid a blackout during an individual performance. Rehearsing the performance The following steps can be used by students to bring the performance to its final stage: • Book the performance space early and organise for the technician, partner or teacher to sit in with a stopwatch. Seat your partner with the stopwatch in the centre of the audience and organise the performance space appropriately. • Ensure that the technician has a clear running script with sound and lighting cues clearly marked. • Do a technical run to clarify cue moments for the technician. Perform the whole piece without stopping, even if mistakes occur. • Check your time at the end of the performance and evaluate with your partner the strengths and weaknesses of the performance. Remember your partner is not the director. • Reflect in your logbook, and plan modifications to your project. http://www. smh. com. au/entertainment/musicals/omigod-you-guys-its-fun-20121005-273jh. html http://sydney. broadwayworld. com/article/BWW-Reviews-LEGALLY-BLONDE-THE-MUSICAL-is-Cheesy-Entertainment-20121005 The lead role, Elle, stars Lucy Durack who most Australian theatre fans know as Glinda from Wicked.The role of Elle was described by co-star Cameron Daddo in a recent interview as “the Hamlet of musical theatre” and what an apt description this is. Elle is onstage nearly the entire show and is a high energy and demanding role. It’s a tough role but Lucy nails it. Her comedic timing is incredible and every note hit to perfection. A key element of the show’s success is her on-stage rapport with Rob Mills (Warner) and David Harris (Emmett) who also both starred alongside her in Wicked. Read more about BWW Reviews: LEGALLY BLONDE THE MUSICAL is Cheesy Entertainment by sydney. broadwayworld. com

Leave a Reply

Your email address will not be published. Required fields are marked *