Viewpointing OUTDOORS- a different kind of architecture

We have been working inside using the auditorium space and exploring the architecture. This Theatre Education article talks about TOPOGRAPHY and how our own bodies can shape the space-eg: straight lines, circles; sharp vs smooth. Here's some definitions 

This is a sample off our work {Allsorts on Climbing Frame}

Good work to the students who thought and wrote about what we did. On their BLOGS Rachel described her use of techniques during viewpoint and Shardey researched aspects of NZ Theatre.

Here is some student reflection - expressing you thoughts on the work through description, accurate vocabulary, visuals helps you connect the physical rehearsal work with the meaning and interpretation of text. Critical thinking is essential to a quality performance.

"I stared deeply at the audience, arms crossed, as still as a statue, interacting with the audience as they waited for me to do something." Jordan Low

"Moving around the playground speaking the text{RUMOUR-Shakespeare} and touching the playground equipment [architecture]. We used the element of TIME, changing  speed [tempo] withing the space. Moving on instinct reacting to hear/touch/taste {kinesthetic response]. How can we surprise the audience? Malia 'Okusi

" We used space- a variety of levels, moving to any space hat felt right; used architecture like patterns on the concrete and lines on the field; constantly changing speed [TEMPO" Veronica Smith

Anon comments "I started feeling confident, loud and I felt right. Our class is starting to become comfortable with each other."

Skills of Physical theatre

Two hours of Senior Drama - period 1 & 2 Tuesday.
Physical theatre - statues/creep up/lanes- using some text- make sure your LEARN these words.[see below]. This is based around Anne Bogart's Viewpoints I have a book if you want to know more.
We went thorough course outline- need for group work and the challenges of reassessing group work.
We looked at some of the Zen Zen Zo work and some Butoh - weird and challenging aspects of physical theatre.

“Rumour is a pipe

a pipe of so easy and plain a stop

Blown by surmises, jealousies, conjectures

And of so easy and so plain a stop

That the blunt monster with uncounted heads,

The still-discordant wavering multitude,

Can play upon it.”

Jellybeans and Allsorts - 2019 NCEA Drama classes

As well as the site I am going to share our work processes here. It will help you catch up if you are absent. You may find that my reflection on the lesson adds to your understanding or you can use comments to ask questions.

Allsorts- we did some practical work with physical theatre processes. Check the NCEA- NZ theatre page on the site for a slide show about physical theatre. Learning Objectives- use SPACE:levels , pathways, spatial relationships. Resilience training - no laughing, maintain focus. Building ensemble- know names, work together

Jellybeans- we have started work on Toa Fraser's play Bare; we went through a side show [on site] and dicussed the socio-poliical context of the play. This will also apply to the Allsorts's play Niu Sila. We discussed personal & NZ identity with mindmaps, were re your devices? The links to Brechtian theatre suggested the importance of the stereotyped characters in showing the socio-economic divide in NZ.
new-zealand/child-povertyhttp://www.inequality.org.nz/understand/