Unit 7
Unit 7
UAL - Level 3 PaPA - Acting pathway
~Ilonka Flora
analyze own progress and performance to identify relevant opportunities for future study
The skills and qualities that I have brought with me to this performing arts course in September 2017 are listed in my skills audit, here is a Screen print of that or see the original post: https://ilonkaflora.blogspot.co.uk/2017/12/units-1-4-skills-audit.html
My vocabulary use has become broader, in the sense that I am constantly blogging about notes taken from class or evaluations, Reading over what I've typed, seeing weak and basic words or too many repeated words and using a thesaurus to look at other options.
Feedback in December was positive:
I was able to understand how, when and where Shakespeare plays have been originally performed, through thorough research. I was professional in class sessions and rehearsals, staying focused to the best of my abilities, observing how my peers perceive their characters and how they deliver their lines and react off of each other, which then helps me to sculpt my own foundation for my characters and how I want to deliver the roles. I was able to process thoughts on what my character's objectives were, major or minor, it all plays a role in how they react to anything.
Since Then, I have focused on The York Realist and Three sisters, having a look at Chekov, Peter Gill and Stanislavski in detail. I researched these creative minds and was able to put it into my own words and understanding of their works, intentions, and techniques.These techniques have been discussed and explained many times during class sessions, and I have been able to identify these skills now and use them when acting, I will list these skills and others that have been developed:
what I've gained
inner monologue
I've really tried to understand the meaning behind the lines that my character is saying. Looking for any deeper meanings helps deliver a realistic line.
Subtext (stan)
Understanding the underlying meaning that is not announced is a technique that I have developed and researched about since mid-December 2017.
kiss
Playing a character who kisses another character can be nerve-wracking when you're doing it in front of an audience and with someone who you know little about. I must show to the audience that I want to kiss this person, so I try to embody and show my characters wants and needs the most there.
improv
We've been taught to accept ideas, never say never, if you say yes, it can take you anywhere and you can produce something very entertaining.
script process
reading others in the stage space and reacting off of that is something I've adapted to do by watching and learning. studying the script in my free time also.
listening and reading
How I now work through listening and reading is reading scripts and analysing what is meant and how it should be said, listening to how the others are saying their lines and reacting well off of it or constructing a scene that sounds right in the right context.
Stanislavski
We've looked at Stanislavski repeatedly, and have referred to him throughout the rehearsal, techniques such as the circle of attention, physical action, emotional memory and more.
observation and appreciation...
All of these techniques have been developed through rehearsals and analysing my characters for Romeo and Juliet and The three sisters.
My first acting performance ever was in primary school, we performed Grease the musical and I was Frenchy's 'understudy'. The person playing Frenchy was ill so I had risen to the occasion last minute. It was my first time and I handled it well with no nerves.
Papatango
Tongue twisters (voice)
Tongue twisters include Red leather and Yellow leather and Unique New York, Newyork Unique.
These help with dictation and articulation.
For our new play we are working on (Fujee), I've gone up for the roles of Roza and Mother. No one wants to take the mother's role so these two characters may be definite for me. I then realised that I have been Romeo's mother in another play and I believe I should have chosen someone different, and more contrasting. I will think about this when looking at another play in the future.
In order to get a distinction, I will need to analyse mine and other character's objective, the relationship between them and motives for their actions. I will need to thoroughly evaluate mine and the classes performances and reflect on how much I have developed from September or further back in detail. I will also have to talk about our practice and what we have learned and try to apply it to my performance and written work.
Thinking ahead for the future, I've recently begun to look at drama schools, this will help me to concrete my acting foundation, I will be able to develop my skills such as acting, singing, and dancing.
East 15 provides exceptional training for the stage and screen, they offer additional training such as combat, fencing etc. which is always useful for actors.
London Academy of music and dramatic arts is well known for producing great talent, BAFTAS, Tonys, Golden Globes and more awards have been accepted by the many graduates of LAMDA. They will be able to offer the gate to show business connections.
guildhall school of music&drama is one of the top drama schools in the world, it is unnerving knowing that 1 of 100 people are accepted out of thousands, it's easy to slip into a negative mind because it happens all the time to everyone that it has become the norm.This industry is very difficult to get into, so where would the negative thinking fit here? it doesn't If I am not applying for the best, then what am I? What do I think of myself? If I don't think I'm good enough for a top drama school then why would I be pursuing this career? Even if I were to not be accepted, that is part of this industry! Rejection is usually certain, but I will need to be resilient, and trust that I am a good actress.
NYFA (New York Filming Academy) is great for beginning actors as well as experienced ones, I would like to apply for a scholarship there, well I should consider that for all the schools! Mainly because I would like to study abroad and gain experience in a campus in the US.
The reason I am pursuing a career in acting comes from wanting to put myself in other people's shoes and perspectives, whether the character is perceived as or performs evil acts, there is a reason for them behaving that way as well as a character who does good acts. You are becoming a new person but the essence of you is still there as this character has come from this image that you have of them from reading a script and then bringing it off the paper. There will not always be a detailed backstory for your character depending on the roles but that doesn't mean that you can't use your creativity to expand their backstory and experiences leading them to major and minor objectives. different characters mean different experiences and personalities.
Another reason is that I want to influence the world for the better, I want to inspire people young or old to reach what it is that they want to pursue. World peace may not be certain in my lifetime but I believe that everyone has a purpose and I believe that I can make a name for myself and help lead the world into new mind opening era.
Shakespeare performance along with feedback, research Julius Caeser a little
Julius Caeser is a Roman tragedy play written by Shakespeare and is one of the plays that are actually based on true events from Roman history believed to be written in 1599.
Feedback from Rob,
ebi
~ Vocal range
~breathing
~Getting away from Shakespeare voice/ speech
#Speech needs to be longer 53 s
www
good contact with speech
thought process
UAL - Level 3 PaPA - Acting pathway
~Ilonka Flora
analyze own progress and performance to identify relevant opportunities for future study
The skills and qualities that I have brought with me to this performing arts course in September 2017 are listed in my skills audit, here is a Screen print of that or see the original post: https://ilonkaflora.blogspot.co.uk/2017/12/units-1-4-skills-audit.html
Below shows the skills that I learned or was able to develop, after performing Romeo and Juliet at the Shaw theatre in November 2017.
My vocabulary use has become broader, in the sense that I am constantly blogging about notes taken from class or evaluations, Reading over what I've typed, seeing weak and basic words or too many repeated words and using a thesaurus to look at other options.
Feedback in December was positive:
"An excellent block of work Ilonka, you worked really well as an ensemble member and took on your responsibilities with focus and determination. Rehearsal work that was observed was again, very strong and highly motivated. You out into practice ,"objectives and "actions" really well and it was clear from your Blog work that you comprehended the needs of the assignment. You took on board the need to be proactive in taking responsibility too for extra research and its clear that you carried this out with a strong level of detail. You comprehended the needs of "updating" our version of R&J , linking this back contextually to the "original" historical time period of when it would have been performed. A very strong block of work."
I was able to understand how, when and where Shakespeare plays have been originally performed, through thorough research. I was professional in class sessions and rehearsals, staying focused to the best of my abilities, observing how my peers perceive their characters and how they deliver their lines and react off of each other, which then helps me to sculpt my own foundation for my characters and how I want to deliver the roles. I was able to process thoughts on what my character's objectives were, major or minor, it all plays a role in how they react to anything.
Since Then, I have focused on The York Realist and Three sisters, having a look at Chekov, Peter Gill and Stanislavski in detail. I researched these creative minds and was able to put it into my own words and understanding of their works, intentions, and techniques.These techniques have been discussed and explained many times during class sessions, and I have been able to identify these skills now and use them when acting, I will list these skills and others that have been developed:
what I've gained
inner monologue
I've really tried to understand the meaning behind the lines that my character is saying. Looking for any deeper meanings helps deliver a realistic line.
Subtext (stan)
Understanding the underlying meaning that is not announced is a technique that I have developed and researched about since mid-December 2017.
kiss
Playing a character who kisses another character can be nerve-wracking when you're doing it in front of an audience and with someone who you know little about. I must show to the audience that I want to kiss this person, so I try to embody and show my characters wants and needs the most there.
improv
We've been taught to accept ideas, never say never, if you say yes, it can take you anywhere and you can produce something very entertaining.
script process
reading others in the stage space and reacting off of that is something I've adapted to do by watching and learning. studying the script in my free time also.
listening and reading
How I now work through listening and reading is reading scripts and analysing what is meant and how it should be said, listening to how the others are saying their lines and reacting well off of it or constructing a scene that sounds right in the right context.
Stanislavski
We've looked at Stanislavski repeatedly, and have referred to him throughout the rehearsal, techniques such as the circle of attention, physical action, emotional memory and more.
observation and appreciation...
All of these techniques have been developed through rehearsals and analysing my characters for Romeo and Juliet and The three sisters.
My first acting performance ever was in primary school, we performed Grease the musical and I was Frenchy's 'understudy'. The person playing Frenchy was ill so I had risen to the occasion last minute. It was my first time and I handled it well with no nerves.
Papatango
Tongue twisters (voice)
Tongue twisters include Red leather and Yellow leather and Unique New York, Newyork Unique.
These help with dictation and articulation.
For our new play we are working on (Fujee), I've gone up for the roles of Roza and Mother. No one wants to take the mother's role so these two characters may be definite for me. I then realised that I have been Romeo's mother in another play and I believe I should have chosen someone different, and more contrasting. I will think about this when looking at another play in the future.
In order to get a distinction, I will need to analyse mine and other character's objective, the relationship between them and motives for their actions. I will need to thoroughly evaluate mine and the classes performances and reflect on how much I have developed from September or further back in detail. I will also have to talk about our practice and what we have learned and try to apply it to my performance and written work.
Thinking ahead for the future, I've recently begun to look at drama schools, this will help me to concrete my acting foundation, I will be able to develop my skills such as acting, singing, and dancing.
East 15 provides exceptional training for the stage and screen, they offer additional training such as combat, fencing etc. which is always useful for actors.
London Academy of music and dramatic arts is well known for producing great talent, BAFTAS, Tonys, Golden Globes and more awards have been accepted by the many graduates of LAMDA. They will be able to offer the gate to show business connections.
guildhall school of music&drama is one of the top drama schools in the world, it is unnerving knowing that 1 of 100 people are accepted out of thousands, it's easy to slip into a negative mind because it happens all the time to everyone that it has become the norm.This industry is very difficult to get into, so where would the negative thinking fit here? it doesn't If I am not applying for the best, then what am I? What do I think of myself? If I don't think I'm good enough for a top drama school then why would I be pursuing this career? Even if I were to not be accepted, that is part of this industry! Rejection is usually certain, but I will need to be resilient, and trust that I am a good actress.
NYFA (New York Filming Academy) is great for beginning actors as well as experienced ones, I would like to apply for a scholarship there, well I should consider that for all the schools! Mainly because I would like to study abroad and gain experience in a campus in the US.
The reason I am pursuing a career in acting comes from wanting to put myself in other people's shoes and perspectives, whether the character is perceived as or performs evil acts, there is a reason for them behaving that way as well as a character who does good acts. You are becoming a new person but the essence of you is still there as this character has come from this image that you have of them from reading a script and then bringing it off the paper. There will not always be a detailed backstory for your character depending on the roles but that doesn't mean that you can't use your creativity to expand their backstory and experiences leading them to major and minor objectives. different characters mean different experiences and personalities.
Another reason is that I want to influence the world for the better, I want to inspire people young or old to reach what it is that they want to pursue. World peace may not be certain in my lifetime but I believe that everyone has a purpose and I believe that I can make a name for myself and help lead the world into new mind opening era.
Shakespeare performance along with feedback, research Julius Caeser a little
Julius Caeser is a Roman tragedy play written by Shakespeare and is one of the plays that are actually based on true events from Roman history believed to be written in 1599.
Feedback from Rob,
ebi
~ Vocal range
~breathing
~Getting away from Shakespeare voice/ speech
#Speech needs to be longer 53 s
www
good contact with speech
thought process
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