Imagine This

Hi all, just wanted to add a photo of Blossoms orange top, mainly for Tess, just in case it is not what you have in mind, and then you have chance over the weekend to get something else!

Hope it is what you thought!

Also one more thing, did someone take the fishing wire i brought yesterday? I hope so, just let me know if any of you have it, because if not i will bring some with me on Monday!

Hi all,

I really took to Jenny’s idea yesterday of the children getting and putting the ingredients in our ‘fairy bowl’ to make the fairy dust! When I observed Kaska’s son yesterday I noticed that he really did want to get up and be involved. In Moses Goldberg’s book titled ‘Children’s Theatre: A Philosophy and a Method’ on page. 80 Goldbergs states:
“Some level of physicality always accompanies their concentrated appreciation”.
I think if we allow the children to be physical ‘involved’ in the making of the fairy dust we as a group can encourage their appreciation.

Also I have found fairy wings, here’s a photo off them, they have glitter on them, i am so happy!

I bought two pairs so that is now one less thing to worry about.

In regards to the ‘fairy bowl’ it is now a basket, a rainbow basket it is the best I could find that will fit the purple flower.

Here’s a photo, What do you think? Do you think this will do?

Also i took a few pictures yesterday, they are not the best and i hope on Monday i can take a few more of each scene, though just for fun here are the few i took yesterday:

The Jungle and the animals!

Our beautiful Lyndal as the Witch in her Castle!

Here is a song that I found that may be good for the finale. Have a listen and if you like it I will put it onto a CD to bring on Monday.

The Two Pigeons – Ballet in Two

I just want to say that since Jenny came in a spoke about group cohesion i’ve really enjoyed rehersals! Everyone is getting on so well and it feels like a really supportive and comfortable environment. So  i just want to thank everyone for that!

I also have almost finished the puzzle, its very glittery now, however i am struggling to find a way in which the puzzle pieces can link together… hmm so we may have to brainstorm that tomorrow.

Also, kasia mentioned today that the fairy scene is a little incohesive because Daniela’s acting style is more animated whereas mine is a little more reserved. Its good constructive criticism so i was wondering if i should try make my movements and facial expressions more dramatic or if you think the contrast between the fairies works? I am completely fine to try be more animated (it will be fun ) but i was just wondering what you guys thought?

Hi all below is just a description of what Tess and I will be doing in the ‘Wind Dance’ and ‘Enchanted Forest Scene: When the fairies can fly’, mainly for Tess so if she want to practice and if she forgets something when practicing she has something to refer too.

WIND DANCE:
Three movements as we move around the children and towards Kick:
1) A turn
2) Foot Sweep
3) Both arms move back behind the upper body and then go upwards towards the ceiling (both of us are facing the front).
We then move towards Kick ad our hands link as we circle around Kick.
We then get the pieces of the puzzle from Kick and place then in their ‘spots’ within each scene.

FAIRIES CAN FLY:
We both get up on to our feet and then execute a slow turn towards the right: Anti-clockwise. Our arms rise up from either side of our bodies to be raised above our heads: in an oval shape position.
The left arm lowers to the left side of our bodies. Our right arms then lower to the right side of our bodies and this is when both Ivy and Lavender say: “Thank you Poppy”.

Hey peeps,

Have just attached the final draft of the script below. It doesn’t have any massive changes so don’t print it out again if you don’t want to – I have just added the little end scene that we workshopped in class the other day.

See you this arvo at 4pm!

Puzzia – Final Draft

So we agreed to the following meeting times this week and thought I would just post a reminder out there:

Monday 4-7 in the drama room

Tuesday 11-1 in the Music room

Wednesday I’m guessing the usual 9am meeting time ready for class.

We have our scheduled ‘show-and-tell’ on Wednesday where our group shall attempt to go for a full dress and tech run =) It would be really awesome to see everyone at rehearsal so we can nail this show down (although I know Monday is no good for Kasia).

Bring your costumes and prepare for the magical journey – WOOOOO!

In the past week I too have noticed a dramatic shift in the group’s dynamic… I personally have been quite shocked and saddened to hear of the discontent amongst group members and hope we can find a way to resolve these feelings of unease.

Throughout this process I believe we have all only ever had the best intentions in our hearts and I am sure no one meant to hurt anyone. With our audience always at the forefront of our minds we have been working towards the common goal of presenting an entertaining theatrical experience for the kids. And we are so so close to achieving this!

But there is still a lot of work to be done! Perhaps a way of moving forward from here would be to adopt what Jennifer Simons refers to as a "focus circle". In her paper entitled "Playbuilding: more than the sum of its parts" Simons says:

The focus circle structure allows each person to be seen and heard, facilitates an equal status, and helps the group to concentrate on the issue at hand (2004: 3).

Rather than seeing the further fracturing of our team into smaller sub-groups, perhaps at the beginning or end of each rehearsal we could have a focus circle which would give everyone the opportunity to raise any issues of concern with the rest of the group. I realise that when we are working “on the floor” in a fragmented and informal fashion some voices do tend to be louder than others. If we provide the forum for all voices to be heard then we can make sure that everyone has the chance to share their brilliant ideas!

What do you think?

Reference:

Simons, Jennifer. 2004. “Playbuilding: more than the sum of its parts” in Drama Journeys: Inside Drama Learning edited by Mary Mooney and Jennifer Nicholls. Sydney: Currency Press.

Hi everyone,

There is something I wanted to point out to you all that David Woods makes apparent in his book ‘Theatre for Children’:

“A children’s audience is unpredictable. You have to be ready for anything, expect the unexpected. Do not expect to rehearse, them perform it as your rehearsed it” (Wood, 1997: 25).

I really think at this point in the progress of our play building we all need to consider the above. We are executing an interactive performance whereby we as ‘actors’ ask the children questions and as a group we have come up with solutions if the right answer is not given. I think we need to consider things like: when we get the children up to be part of creating the rocket ship, after Heather asks them to sit back down, what if some of the children don’t, if this occurs what should we do, should we do anything?

With our final performance date drawing close, I would like to take this opportunity to address a less technical, and a more intangible segment of our group performance: our group dynamic.

 I bring this up in response to today’s lesson. I feel it was a successful day in terms of the content created – and it certainly is a big weight off our backs to have sets and props almost finished. However, I am concerned about how this was achieved. Mostly, we worked in separate mini-groups or individually. While this was arguably necessary for the task of today; I do not wish it to become the model off which we fashion our future working time together.

 There has been some tension between our group over the last week: possibly longer, but I think this is when it has reached a point at which it has become easily discernable. I know for me the process of play-building, which I was originally really enjoying, has become largely unpleasant recently (and from what I have gathered speaking to people, I am not alone in feeling this way).  

 This is not to be misconstrued as a ‘blame’ rant. No-one is at fault, and the reasons for this are diverse and personal to each member. I believe it is mostly due to the fact that we as an entire group (and I do not believe anyone, including myself exempt) have lost our cohesion and team mentality – and as a consequence have lost our enthusiasm and passion for the project.

 Thinking back to many weeks ago, this is exemplified. Our strongest point as a group was the day we sat down in X5B in that meeting room and brainstormed and finalised the plot line of our performance piece – the day ‘Puzzia’ was named as thus. We were both productive and enthusiastic; people were contributing, excited and at the end of the day very pleased with our work. A lot has happened since then, and think the pressure and tunnel vision towards the end result has made us loose this fun aspect.

 The performance is in two weeks, so I’m not suggesting we slack off or anything – but I think we need to reinject our desire into ‘Poppy’s Magnificent Puzzle’. I know it sounds a bit lame but I think we should perhaps try and throw that beanbag around again, or try some other group drama games to rebuild our ensemble mentality – and hopefully return to really enjoying our wonderful play, and the playbuilding process. Perhaps we need to find an opportunity to sit down together, clear the air and discuss how we are feeling – but most of all I hope we can put our differences aside and get back to being a group of people who are happy to be there!

 In Tarlington and Michael’s ‘Building Plays: simple playbuilding techniques at work’ the importance of such group passion and unity is stressed. They denote that “Actors involved in a playbuilt play take ownership in a special way” and “that collectively we are strong” (1995: 8). For me these quotes say that we need to be proud and engaged in our play, as a group: a true and united group which I am sure we have the capability to be. It may seem late in the game to be bringing it up, but it is as important as ever as “the final performance reflects the creativity and energy of all its members” (1995: 8).

This is particularly important for our group, due to the nature of children’s theatre. Successful children’s performers, such as The Wiggles, Hi5 etc. rely heavily upon a sense of unity and fun to engage and entertain their young audiences. I know were not a pop group but the same principle applies – children will see through us if we are not giving 100%, and working as a strong ensemble. To show this I am attempting another You Tube video (and I swear this is the end of my long long post for anyone still reading) of Hi5 where I feel a strong group dynamic is evident.