Grid Performance Evaluation

Evaluation Performance

Scenes from Antigone:	Multimedia used and locations	How did the multimedia in each scene enhance the performance?
1. Creon announces that Eteocles will be honored and Polynices will be shamed and left un-buried.	Video to be shown on screen in reception.	The multimedia in this scene allowed the audience to truly feel a part of the in-story crowd that is awaiting Creon's decree.
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.	This gives the audience a much deeper insight into the character's inner feelings and turmoils that are driving or afflicting them through the scene
3. Antigone goes to bury her brother.	Round of wooden stumps.	This increases the authenticity of the setting of the scene and ensuring that it is effectively synced to the scene itself
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.	This form of multimedia once again aids in increasing the authenticity of the setting of the scene and this particular form also helps to catch the audience's attention regarding Creon's intentions which are what more or less drive the scene.
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.	The fact that during the scene the Sentry felt inclined to show Creon actual footage, strongly underlines the severity of what has transpired which will result in the audience better understanding what the multimedia was conveying which is once again driving the entire scene.
6. Chorus sing about honoring gods.	From the yard up to windows of 413 Recorded chorus played.	This multimedia provided the scene with a certain atmosphere of mysticism as the audience could see the company performing choreographed movements reminiscent of the words they could hear, but could see no actual words coming out of the company's mouths. This effectively fully and totally engages the audience into the scene.
7. Sentry returns with the Culprit: Antigone. Creon confronts her.	Burst into 413 - audience turn to see. Lighting used.	This ensures that the audience shifts their focus to the event that will have the most impact on the tone and atmosphere of the scene
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	The multimedia utilized in this scene aids in the flow of the scene and helps to carry the scene through to its final process.
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.	Once again this multimedia holds suspense and ensures the audience's complete and total focus due to the flashing lights. This advances the movement of the scene as the audience will now listen intently to the conversation.
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	This multimedia aids in the one of the scene's objectives which is holding the audience in suspense, It also captures what is transpiring during the scene and presents it in a manner that the audience would be attentive to.
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	This multimedia enforces the direction of the audience's focus being directed to Tiresias and helps strengthen the desired tone and atmosphere of the scene.
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.	Once again strengthens the audience's connection to the scene through its setting and scenery as the audience feel truly submerged in the scene as the company fills the cavities of 415.
13. Chorus deliver a choral ode to the god Dionysus.	N/A	N/A
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.	This multimedia strengthens the atmosphere and tone of the scene as the video itself is in black and white and incorporates spooky sounds which combined with the darkness of the room creates a very dark tone which is what the tone of the scene is supposed to be.
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.	By the audience looking down from room 415 which being fairly high up, effectively gives the effect of isolating Creon and Haemon which directs the audience's focus and thoughts to the element of the scene it needs to be on.

Multimedia Theater Production-16/3/2015

Multimedia Theater Production

I analyzed how the use of multimedia in a theater production helps in its communication to the audience using the piece "The Waves". The Waves was devised by director Kate Mitchell which was an adaption of  the experimental novel "The Waves" by Virginia Woolf. The production was performed at the National Theater and has been described by various critics as a "rarely sighted beast" and a performance where "theater and video come together so seamlessly and complement each other". 

From the few clips that I have watched on the rehearsals and devision sessions of the piece I have analyzed, I have concluded that utilizing multimedia in a production actually strengthens the message of the piece and aids in the piece's communication of it to the audience. I believe that multimedia allows the audience to look at the piece from a different point of view and in a different manner which is a not only amazing but also complex thing to incorporate in to a piece. By continuously looking at the piece and all that it is from a different point of view and more importantly a different way of looking at it, the audience will have an even stronger chance of receiving the intended message that the piece intends to communicate and if not an equally strong message of their own.

Multimedia also adds a more diverse way of telling a story or message of a piece and in my opinion takes skill to incorporate in to any piece. Multimedia can also sometimes add a stronger feeling and sense of the reality and truth to the piece as where the audience and company are concerned.  

Context-26/3/2015

Context

Today we explored the scene between Antigone and Creon in which Antigone confronts Creon on his decree regarding the body of Polynices. However we explored the scenes in two halves in which one half of the room would explore the piece in partners in its traditional, older format, while the other half while still being in partners would explore the scene with far more modernized dialogue. I was partnered with Alex and we were given the modernized version and we were also one of the pairs asked to perform. During the rehearsals I found the piece far easier and more "flowing" than what I had briefly read over on the other version. I had initially concluded that this was due to the more modern style of the dialogue which I feel was easier to deliver. However I have recently concluded that this was also due to the structural element of the dialogue and that its structure was generally more easier to deliver than the other version's. We focused more on our delivery of the dialogue of our piece than its physical theater, but during our actual performance I actually managed to incorporate some of what I believe to be very effective physical theater. One example of this was my pacing up and down during the first quarter of our performance. I found the exercise not only effective in my connection with the characters, but also watching the performances of the other members of the company as it aided me in my connection to both characters and better understanding their stats and positions, whether wanted or unwanted, in the story.   

My Piece

My Piece

My piece incorporates its multimedia in the form of dialogue being delivered on a television. This form of multimedia is particularly both interesting and complex as it has one member of the company asking questions to me as I deliver my dialogue which would have been pre-recorded and edited. This form of multimedia would allow the audience to feel part of the crowd as King Creon addresses the nation and makes his decree regarding the fallen sons of Oedipus. The challenge with the way we intended to incorporate the multimedia was that King Creon would have to respond to the reporter in a synchronized time with when  the reporter asked questions. Due to the importance of the timing of the questions and answers, it took my group and I three or four takes during the filming of Creon's speech. While delivering my dialogue during the filming, I delivered up to the part of which the questions were being asked and from there I had to begin timing myself during the times the questions would be asked and how long it would take me to answer them.

Our piece is set in the school's reception area and the audience would be standing in a crowd like manner looking to the TV waiting on King Creon to address them and deliver his decree. After the decree has been delivered, a reporter will emerge from the crowd, address Creon and then precede to asking him questions regarding his decree and where his family stands with it. The reporter will then thank Creon for his time and then walk to the side alley with a camera and begin flashing it and asking Creon to answer one more question for him while Creon struggles to get away from him and make his way through the crowd. While halfway through the crowd Antigone begins to scream from the top of the stairs shouting that he is a traitor and then attempts to confront him face to face.Creon simply pushes her aside and exits the reception area with the reporter still on his tail. Finally Antigone delivers her final piece of dialogue directing the audience to the next scene outside.

Lesson Audit-30/4/2015

Lesson Audit

This lesson was our final rehearsal lesson and we actually had the year 11 theater class watch a dress run-through of our piece in order to receive appropriate criticism before our two performances to our audiences. Before the year 11's had the chance to watch us we were given an hour to rehearse for our play in order to ensure that our run-through would be of its highest possible quality. During our rehearsal we incorporated more physical theater in to my part and we also managed to lengthen our piece as our piece is fairly small. We also changed our ending of the piece so that I would leave first and Amaya would deliver dialogue which would ensure the audience would know which way to go as they follow through to the next scene and would have an idea of what they are watching during the next scene. The run-through was surprisingly smooth as the transitions and scene changes were excellently executed which allowed us to all sit down and build upon them as they were now known to be efficient in moving the piece forward through its story.

At the end of the rehearsal the year 11 theater class gave us they're evaluations. One of the most common evaluations given were that the company needed to ensure that the actors that were not currently performing a scene remained in character or at least did not do anything that would draw any form of attention to them and not the current scene that would be taking place. Another common evaluation was that  each of the actors needed to ensure that they're positioning would be adequate enough for the audience to see them at all times through their piece. This criticism proved was concluded to be perhaps difficult for certain members of the company, as their scenes were difficult to slightly adjust as each of their scenes were devised in a way that more suited the incorporation of each of their multimedia pieces, not the audiences' view. The members later adjusted this during a quick run-through before our final performance.

Lesson Audit-20/04/2015

Lesson Audit

This lesson we spent most of our rehearsal time going over the chorus pieces and ensuring that we were all fully integrated in to the structure of both chorus pieces. At first the process was a bit of a challenge to get through as most of the company had already gone over the chorus piece quite a few times and so were reluctant to go over it again. However this later proved beneficial as it exposed weak points and in the chorus and allowed the company to iron out the issues and ensure the chorus ran more smoothly. After break we were sent out to rehearse our individual scenes with our group of 3 or 4 members of the company. In my groups's piece, we incorporated a lot of physical theater in to my part as most of my dialogue would be delivered in the form our multimedia ( me on TV). However towards the end we were able to incorporate more dialogue in to my brief appearance, though the dialogue was limited as a result.   

Questions on Greek Theatre

Questions on Greek Theater

1. When were ancient Greek plays performed?

2. How many years ago was this?

3. What different types of plays were performed?

4. What is a traditional Greek Theatre called?

5. What shape was the theatre?

6. Find a picture of a traditional Greek Theatre for your blog.

7. Why were the theatres built this way?

8. What different scenic elements are there?

9. Who sat on the seats at the front?

10. Could women take part in, or attend the plays?

11. Name some of the Greek playwrights and their plays.

12. What did the audience throw at the actors who performed badly?

13. What did the actors wear?

14. How did the audience sat at the back of the large theatre hear anything?

15. Who is Dionysus?

16. Why is he important to Greek Theatre?

17. What is a Greek chorus?

18.  What purpose to the Chorus have in the performance?

19. How and why were masks used?

                                                               

20. What were the masks made of?

1.    The ancient Greeks first began performing theatre productions to honour their various gods during religious festivals. However it was eventually developed in to a way to express people opinions and views on the current issues in the society and its state. This rendered theatre production performed on a regular basis and became a recognized part of Greek culture.

2.    The most recognized and well-known form of Greek theatre was “Greek Tragedy”. Greek tragedy originated from Athens approximately about 532 BC so about “Thespis” was the earliest recorded actor.

3.    The Ancient Greeks took their entertainment very seriously and used drama as a way of investigating the world they lived in, and what it meant to be human. The three genres of drama were comedy, satyr plays, and most important of all, tragedy. Comedy: The first comedies were mainly satirical and mocked men in power for their vanity and foolishness. The first master of comedy was the playwright Aristophanes. Much later Menander wrote comedies about ordinary people and made his plays more like sit-coms. Tragedy: Tragedy dealt with the big themes of love, loss, pride, the abuse of power and the fraught relationships between men and gods. Typically the main protagonist of a tragedy commits some terrible crime without realizing how foolish and arrogant he has been. Then, as he slowly realizes his error, the world crumbles around him. The three great playwrights of tragedy were Aeschylus, Sophocles, and Euripides. Aristotle argued that tragedy cleansed the heart through pity and terror, purging us of our petty concerns and worries by making us aware that there can be nobility in suffering. He called this experience 'catharsis'. Satyr Plays: These short plays were performed between the acts of tragedies and made fun of the plight of the tragedy's characters. The satyrs were mythical half-human, half-goat figures and actors in these plays wore large phalluses for comic effect. Few examples of these plays survive. They are classified by some authors as tragicomic, or comedy dramas.

4.    A traditional Greek theatre is called an “Amphitheatre”.

5.    In the centre of the theatre was a circular dancing floor (orchestra), with an altar for sacrifices dedicated to Dionysus. The stage was a raised area within this circle.

6.   

7.    The shape of the theatres gave everyone in the audience excellent viewing and also meant they could hear the actors well too.

8.    The skene or stage house had a facade that usually represented a palace or royal house; a “machine” lowered the gods from the roof of the stage house (the term deus ex machina, meaning “god from the machine,” refers to a contrived plot device that resolves a tangled situation; it originates from this practice of lowering the gods in at the end of an ancient Greek drama to solve the conflict).  A 3-sided column called a periaktoi could be rotated to show different scenic pictures.

9.    The front seats of the theatre were reserved for the priests, especially the high priests of Dionysus.

10. The women were not allowed to attend the performances nor be cast in them.

11. Some of the most highly esteemed Greek playwrights and their plays were Sophocles-"Oedipus Rex", Aeschylus-“The Persians”, Euripides-“Medea” and Aristophanes-“Frogs”.

12.  Whenever the actors’ performance was of poor standard, the audience would throw rotten food or any other items they can find so long as they were not scared of the gods.

13.  Masks were commonly used, as men often played the part of women. By       using a mask the crowd could not see the person behind. It also meant that the facial expressions used were much more exaggerated to the back of the audience as the masks did this.

14.  When sat at the back of the large theatre, the audience would hear the performance through the actors’ obvious gestures.

15. Dionysus is the Greek god of wine and parties.

16. Dionysus is important to Greek theatre because the theatre was where the Greeks honored and worshiped him. He was also the patron of the arts.

17. A Greek chorus is a homogeneous, non-individualized group of performers in the plays of classical Greece, who comment with a collective voice on the dramatic action. This is similar to an ensemble.

18. 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. It also represents the population in any particular story, in sharp contrast with many of the themes of the ancient Greek plays which tended to be about heroes, gods and goddesses.

19. Since, in Greek plays, there were usually one to three actors and a chorus. The masks could be used to show a change in character, since there were not enough actors to play all the parts. Masks were also used to show a physical change in a certain character. For example, in Oedipus, after he stabs his eyes out, a mask could have been used to represent this physical change (the lack of eyes).The masks were also made to help project the voices of the actors. Many of them had a type of 'megaphone' shaped mouth which allowed the voice to project to the farthest reaches of the Amphitheater.

20.  None of the original Greek masks have survived time to be studied, but records indicate that the masks were made from organic materials like stiffened linen, bark, wood or leaves. The masks that exist today are made of terracotta and were not worn by actors. The terracotta versions were put outside the theaters for decorations or were put on temples as offerings to the gods.