21|5|15 - Directing - Teechers - Sewing it Together

As the whole performance has been handed out between groups, we need to join it up in order so that the audience has a clear idea of characters and the continuing story.


I explained to the class that we were 'sewing the piece', connecting them all with a loud transition that will keep the energy high. We made them go over the last ten seconds creating a freeze frame for what would be there 'final moment'.


I then used to first and second group as an example, getting the first group to do there last ten seconds then freeze. I then explained to the second group then during those last ten seconds they needed to get ready to run on, know which character they are following on from, keeping in mind what set they need bringing off or to tell the cast before what they need them to take off with them. I explained that the exchanged needs to be loud, having 'banter' with the other cast exchanging encouragement, comments or laughing/screaming. As long as it had volume and energy it would work. I made them do one practice through, so they could see how it would work. Once figuring it out, I made them do it until they could do it under 5 seconds. I then repeated this for every group. Making sure they were clear of three entrances/exits, what they need to take on/off and where that would go.


Once this was complete, we then listened to the last few lines of the piece, then the first few lines of the next piece. If there were any repeated lines we add 'anyway, what we were saying...' so that it didn't feel too repetitive. Alternatively, if the piece jumped ahead, we added in a line that would it would link the two parts together keeping the fluidity of the style. As we also have two groups doing the same section, we're going to do one group after the last scene using the line "we're not finishing the play on salty's arse, and we know you've seen this bit but we're going to show you it again anyway".

14|5|15 - Directing - Teechers - Input #2

Working in the same way as I did yesterday, I asked the group if there were bits they felt needed development or they were struggling or unsure with. I then watched what they had done and thought of ways to improve what they already had rather than change it completely. 

I had already worked with the groups already it was easy to help think of ways they need to develop. 

I worked with the Section Four group : 

https://www.youtube.com/watch?v=Cfalo0HnQJU&feature=youtu.be

Spacial awareness was a focus, having to stand still so that they focus was clear and we can't lose what they're saying. They also had trouble with developing a part about Macbeth, but by giving them an action and a character to play they managed to move the scene along with more visual energy. 

I then worked with the Section Three group: 

https://www.youtube.com/watch?v=ywiuEj8b9ko&feature=youtu.be

They mainly wanted help with the development of the 'St George's'. Part of them wanted to cut it out but I felt that it was too important in showing the contrast between Whitewall and St George's to do so. Then I helped with developing one of the teachers characters in the staff room to create humour as well as adding more tones into the scene. 

Then, the last group that I worked with yesterday (Ninja) performed. This showed many of the inputs that I suggested being carried out: https://www.youtube.com/watch?v=yuOR0-lIzhM&feature=youtu.be

The only thing I feel they need to develop is some of the transitions between where they switch between script and adlib. This will stop the pace of the performance jolting and make it flow and keep humour up. 

The other group that I worked for also performed. The contrast of the oggy character with the teacher is definitely more evident : 

https://www.youtube.com/watch?v=QoY0Zl3Fwnk&feature=youtu.be

I think the male character needs to be more varied in his vocal tones in order to not let the energy drop. Making a difference between emotions will be able to carry through in to different aspects of body language. 

I helped another group separately to work on cutting down their section. When given their section of script they were allowed to chop away scenes deemed more invaluable to the plot of the play. This group found that the scenes in their section all offered a information that carried the story along, not only that, but it is the more serious part of the play that deals with the conflict and depression of the drama teacher. To help them cut it I told them to look at it closer, as they could not cut a whole section, cutting certain lines, or cutting a speech in half these seconds will add up. We went through together, searching for places within their performance that seemed to drag, this happened with Oggy Moxon and Nixon's argument, therefore we cut some lines to help keeps this scene more intense. Then with Doug, the caretaker, we chopped down parts of the lines where he would continue to go on, but not cut too much that it takes away from the character. By doing this we were able to make trim off each scene making it flow better, keeping the nice visual work they do but keeping the energy up as they were no longer lagging on longer lines.

13|5|15 - Directing - Teechers - Input

Today I began working with groups. I either watched their performance then gave feedback in return, or gave feedback throughout the performance if they were struggling on defining moments within their piece. 

Section One: 
https://www.youtube.com/watch?v=hA_0QsalcTU

This group needed clarification on how certains things should be done. They had a great sense of creating humour but succesfully creating it whilst continuing with the Godber style which was where I was able to offer direction. 

Section Two: 
https://www.youtube.com/watch?v=lOPRrg2XU0Q

With this group the main focus of direction I felt was the need for their multirolling to be stronger. When they become one of their other characters it should be easily recognisable as that character as well as being different from the other people they play. 

Section Three: 
https://www.youtube.com/watch?v=Morm5tugvLA

I felt that this group had really developed the script, but with the moments they created humour it lacked energy or pace. This comes with a solid learning of lines and rehearsals. I felt they had really nice transitions, which needs to be transferred onto the changing on characters so it is clear to tell they're different people. 

Section Four: 
https://www.youtube.com/watch?v=GBYVFj56Zhg (starting at 1.25) 

Here I feel that "oggy" needs to be more 'larger and louder than life' to make the fear and awkardness of Mr Nixon comical and relatable. A common thing that I've noticed is how the characters feel the need to move their feet. The performances will look a lot more slick if they keep their feet placed with confidence. 

Later, I worked with two more groups (unable to film this rehearsal, film next rehearsal)

The first group dealt with the same section of script as section four. In this, their 'Mr Nixon' figure needed to acquire a more posh persona in order to contrast with Oggy's 'thug' behaviour. It was also the same problem of feeling like they had to putter on the stop. With focus their pace was good and kept a slick style. 

I then worked with a group who needed to develop quick actions that matched the words in order to keep it visually lively. The focus on ninja's was to really throw themselves into the action. There were then finding slight problems with the way in which they can transition, so I was helping them find ways to preempt the movement without it being noticeable as preparation but making the end performance slick. 

7|5|15 - Directing - 'Teechers - John Godber'

I will be working with a Year 10 Class that have been split into smaller groups to work on given sections of the script 'Teechers' by John Godber. I will be helping to direct them into the style of Godber with input from Berkoff techniques as I think these will work well together. 

The Characters from 'Teechers' 

(as described by the script) 

      Characters 

• Ian "Salty" Salt - a school-leaver, bright and fresh-faced, rather dirty in appearance (also plays Teecher B, Jeff Nixon, Pete Saxon, Oggy Moxon, Mr Hatton and Deanie)
• Lilian "Hobby" Hobson -(also plays Mrs Cordelia Parry, Ms Jones, Mr Basford, Ron, Simon "Piggy" Patterson, Oggy Moxon and Mrs Clifton)
• Gail Saunders - Loud mouthed and bossy, attractive and full of enthusiasm (also plays Teacher A, Ms Maureen Whitham, Oggy Moxon, Mr Basford, Miss Jackie Prime, Barry Wobschall, Dennis, Doug and Mrs Coates)
• Mr Harrison - the drama teacher, socialist and idealistic, called Mr Nixon in the play.
• Mrs Hudson - the headmistress, called Mrs Parry in the play.
  Characters within Gail, Hobby and Salty's play
• Ms Maureen Whitham - A fussy and hopeless teacher, desperate to leave
• Doug - The caretaker, a miserable old man, he hates kids and drama
• Ms Jones - A moaner, rather fat, someone who wants to leave but no-one will employ her
• Mr Dean "Deanie" - A teacher who thinks all the kids love him, a bad dancer
• Bobby "Oggy" Moxon - The cock of the school, looks much older than he actually is, the school bully in a modern age
• Peter "Pete" Saxon - A large, frightening youth with tattoos, appears foolish
• Mr Fisher - Head of PE
• Barry Wobschall - A small boy who never brings his PE kit
• Simon "Piggy" Patterson - A boy who is always telling on others, he always runs to his lessons. There is a standing joke in the play, with teachers repeatedly shouting, "Stop running, Simon Patterson!"
• Ron - A boy who never does PE
• Mr Hatton - Helps with the youth club dance
• Dennis - Oggy's side-kick
• Jeff "Niko" Nixon / Oliver Edward Stanley Noah Kirtley Harold Smith - New drama teacher, young and casual
• Mrs Cordelia Parry - The Head Mistress, large and loud, a real eccentric
• Mr Derek Basford - The Deputy Head, a typical child hater, a nasty piece of work
• Miss Jackie Prime (later Short) - Dolly bird of a PE mistress
• Mrs Coates - Head Mistress at Saint George's
• Mrs Clifton - Head of Governors at Saint George's

Godber also mentioned about having the soundtrack and play updated, keeping it modern. This helps to engage a contemporary audience. A play within a play that three leavers students put on to show their time at their school for their teachers. They change the name's of many characters and places within their performances, such as their drama teacher, Mr Harrison, who is given the name 'Mr Nixon' in the play, and their school being named 'Whitewall'. 

They speak most fondly of their drama teacher Mr Nixon, the passion he had for his subject and his idea that all children should be treated the same, which is probably the motivation for them creating a play for their teachers. The school 'Whitewall High School' is set up to contrast 'St George's' -  the place where Mr Nixon finds is safer to teach after dealing with hardships at Whitewall. It is highlighted through scenes the trouble of finding a social standing as a new teacher. 

The play dealt with a lot of issues that state school stereotypes go through, going through stereotypical situations that either an adult or child audience could relate too. It is this idea of state school being viewed as a worse set of education than one in a better area. The three students prove more or less that when teachers encourage them they are able to become more passionate. This is reflected in their accounts of school and how they have grown up and developed. 

Although the play has this amount of characters, although Godber said it could be played by a large cast of 20, both Godber and Berkoff try the idea of multiroling. One thing I will do when working with the groups is seeing how they differentiate between the characters they 

have, focusing on their body language and voice control. To do this successfully they will need to take on more stereotypical idea's of the character to an audience can identify with them quicker. The more exaggerated and outrageous they appear the more humour is can create. Godber uses minimal set, the play is reduced to the bare essentials and the cast will have to focus on making the play come to life through clever and fast transitions, making sure that the pace doesn't drop but not loosing lines through to not hearing them. I will help to control these as an outside perspective directing is very helpful as things might not translate how they think they are.

15|4|15 - Singing Techniques - Finalising the Programme

Within my final discussion with Chipp, I want to make sure I have the timings right so I could set in stone how the evening will plan out. 

With 10 to 15 minutes of 'chat' time we will have 3 solo's and a duet. 

Abbie - Somewhere that's green 

Carys - Castle on a cloud

Carys & Poppy - Falling Slowly

Poppy - I'll be here 

These songs don't have 'peaks' that use a climactic belting technique meaning that the audience will be able to continue conversations with music that is enjoyable but relaxed.

I decided to switch around 'I'll be here' and 'Say the word' due to the length of I'll be here and also it's downhearted nature. I feel that 'Say The Word' is enough of a slow ballad to offer variation with the programme but not bring a negative or atmosphere that might have been possible with the themes presented in the song 'I'll be here'. With solo's sandwiching a more lyrical, emotional ensemble piece I feel both solo's should be more positive, one being more upbeat than the other. I will be starting & finishing with 'Naughty' & 'Mama I'm a Big Girl Now' that involve a lot more movement and fit the light hearted nature of the awards evening a lot more enjoyable than perhaps ensembles that are overly serious. 

Here is a video of the actual performance night: 

https://www.youtube.com/watch?v=2DgswNfxzmM

Overall I feel that the evening was highly enjoyable for both performers and audience. The close nature of the group made created a great atmosphere. To improve I would either have live accompanists for the songs, this makes it easier for the performers as the accompanists will follow the singer on pace and volume, as I felt the volume of the music was too quiet, this is due to the fact that the person I requested to control volume was sat next to the speaker so it always sounded louder to her than the rest of the audience. This also could've been solved by having sound control panel at the back of the room, this means that the sound person would get an overall feel for the alterations needed on the volume. Due to this, I never had to worry about how quiet I was, but I had to focus a lot more on timing as I found it heard to hear cues in the backing tracks that I did during rehearsals. 

1|4|15 - Singing Techniques - Developing the Programme

After doing a rehearsal and meeting with the people that would be involved in the performances, I looked back over my programme to decide on changes that I could make that show more variety and would be more ideal for the context of the performance. 

We have been given a half an hour time slot before the actual award ceremony starts, this will be when the audience will not have their full attention to the songs, rather sat around enjoying provided nibbles and drinks. During this time, myself, Abbie and Carys have songs prepared that we can sing for light entertainment these songs will be:

Somewhere that's green (Little Shop of Horrors) - Abbie

I don't know how to love him (Jesus Christ Superstar) - Carys

Still Hurting (The Last Five Years) - Poppy

Falling Slowly (Once) - Carys and Poppy

Castle on a Cloud (Les Mis) - Carys

First Solo: Say the Word (The Unauthorised Autobiography of Sam Brown) - Poppy 

We will then move onto the Opening: 

Naughty (Matilda) - Carys, Abbie and Poppy. - As we are performing to a drama crowd and it is the same few people, we have devised movement to create a more enjoyable piece to watch. This will increase the energy and I will have to think about how I to control my voice whilst moving. A common issue when singing Musical Theatre songs as they are not usually performed as a recital, rather a performance which is what we will try to do. 

Second Solo: 

I'll be here (Ordinary Days) - Poppy. As I have just done a high energy ensemble piece I feel I am able to do this longer song here. The audience will not have been here long and it would be better to do a longer story telling song now then at the end when their focus has lapsed and require to see more high energy songs. 

Second Ensemble Piece:

The Letter (Billy Elliott) - Carys, Abbie and Poppy. We will have Carys playing Billy Elliott as her voice suits that part more than the two older females. Abbie will play the dance teacher and myself the dead mother. This is because my voice is stronger at the higher harmony part whereas Abbie voice suits the lower part. This is a simple song to perform, which makes it easy to set and allows the audience to focus on the words and feel empathy to the song making it more emotional. 

Third Solo: 

Pulled (The Addams Family) - Poppy. More high energy, with slight comedy it's also a much shorter song meaning after two emotional songs we can regain the audiences attention. 

Third Ensemble Piece: 

Mama I'm a Big Girl Now (Hairspray) - Poppy, Abbie, Carys, Zack, Robert and Nefyn. - Ending the evening with this number, highly comical as the boys will be in drag. This will be high energy and ends the evening on a positive note that includes members from N2C meaning the humour will be more involved with the audience as well. 

By doing some slow and emotional numbers against high energy numbers we show off the type of members N2C has. It allows for a more interesting programme as it provides songs from different musicals, both well known and more undiscovered. 

25|3|15 - Singing Techniques - Creating a Programme

I have been asked by drama to create a programme of songs that would be performed at an awards ceremony for recent performances done with N2C Theatre company. He has asked for a variety of musical theatre songs that display a range of styles. As it is being performed in a theatrical environment there is very little limitation on which songs I can choose, what I must be careful with is the order and where they are placed throughout the evening. 

Having a meeting with Mr Chipp we confirmed a running order for the evening: 

1.(entrance music) 
2. Opening number
3. Welcome speech & Category announcements
4. Second number
5. 'Best Cast Members'
6. Third number
7. 'Best Supporting Actor'
8. Fourth number
9. 'Best Female & Male Actor' 
10. Fifth number
11. 'Best Director' & Closing Speech 

Knowing that I must perform 3 contrasting solo songs I will use youtube and my previous experience with songs to choose ideal songs to perform. To please a public audience I feel there should be a popular song that is known by perhaps a few more people, but then a chance to perform some that are not as well known. 

Opening – duet, solo (carys), solo (poppy)

1 – ensemble

2 – solo(poppy)

3 – optional 

4 – solo (poppy)

5 – ensemble 

Moving one of my solo's to the opening/entrance music means that the audience won't be solidly listening to a programme of songs performed by me. Alternating between groups and others with myself means the audience will be listening to something different after every time. 

I am also thinking of working with 2 other singers Carys and Abbie in ensemble pieces that we can perform. These will be songs that can bring energy to the performance. 

For the entrance music I feel it should be soft music that can be listened too at a distance. One song I think would be good for this is 'Falling Slowly' from the musical 'Once'. Although usually a duet between male and female, I feel that me and Carys could sing it together as the audience comes in. I also think this is an opportunity for Carys to sing a song as her voice is soft and will be nice for background music, this could be another song from 'Once', or perhaps a more well known musical song such as 'Castle on a Cloud' from 'Les Mis'. One song that I might try to do is the duet 'Freedom' from 'The Unauthorised Biography of Samantha Brown' - a more upbeat song that has talking sections with some great harmonies and could be when the audience is almost settled. 

One song I might consider for my first solo for the audiences entrance is 'Someone Else's Story' from 'Chess'. This is because it's a fairly relaxed song but still allows me to sing through my range and express emotion. It's fairly repetitive which is why I wouldn't do it if there was a definite focus on myself singing as it could become boring, but singing it as background music would allow for people to listen when they wanted. 

For the opening number it needs to be something high energy. Thinking of a popular musicals Hairspray's 'Mama I'm a Big Girl Now' would be fun to do if we also brought in a few of the boys to play the mothers it would be more entertaining, as well as bringing forward and showcasing some of the N2C members. We can also make this a visually entertaining piece that will contrast to the solo songs. 

For my second solo song I feel I will be able to sing something that is a lot slower, and perhaps more sad. 'I'll Be Here' from 'Ordinary Days' is a song I have started to work on and would like a chance to showcase. It follows a story of a woman trying to move on from a love that was lost in the 9/11 attacks and tells the story of how she met that man and why she finds it so hard to let go. It's an emotional yet fairly cheesy song, but it takes the audience on a journey. This contrasts to 'Someone Else's Story' as it is from a contemporary musical that is not as well known as 'Chess'. Someone Else's Story is more sung, whereas 'I'll Be Here' is singing conveyed in a very talk-like style. 

For the next ensemble piece I would probably place 'Naughty' from 'Matilda' - this is to contrast with the low energy piece that has just been sung. Although this song is originally written as a solo, there has been a performance where the four Matilda's from the London cast sung it has four. This is what myself, Carys and Abbie would do, this makes it more fun as we would try and replicate the movements as well. 

For my final solo, I feel I should do something more upbeat so I think 'Pulled' from 'The Addams Family' would work. This song starts off with a slightly angry tone which is something I haven't done in the previous songs. It then progresses to be a lot quicker with a happier tone as she has fallen in love, but this contrasts to the happy tone in the previous song as it's more in the moment than nostalgic, it's full of excitement and the tempo is contrasting. 

The last song will be an ensemble number, and I was thinking of doing 'Seasons of Love' as a trio or quartet. This is a more serious ensemble piece that we would divide equally to the parts that suit whoever's voice the best. 

25|3|15 - Singing Techniques - Warm Ups & Sight Singing

During my regular singing rehearsals on Thursdays, we use a variety of warm up techniques that help to prepare the voice for a rehearsal. It is important to warm up the voice to avoid straining or damaging the vocal chords. Deep breathing and yawning before singing is one of the best ways to prepare before singing as it helps to open up your throat and allows your voice to resonate. 

I have collected a range of vocal warm up exercises, these are the ones I have used and found helpful: 

Exercise 1: 

- starting with a note at the lowest point within your range, humming it first. 
- then move that hum smoothly through your range to as high as you feel comfortable before returning to the original note. Doing this a few times helps to warm up the vocal chords touching upon all notes in your range. 

Exercise 2: 

- focus on your breathing in through your nose and out through your mouth, as this is how you should breath when singing. 
- taking a deep breath in through your nose, keeping your shoulders down and relaxed, you should feel the breath going into the bottom of your lungs, filling them. 
- then when breathing out, try to keep the expanded shape of your body until all the air has gone. 

I found this exercise is helpful for breath control within singing, when singing the song 'I dreamed a dream' there is a note that is held for 8 beats whilst contending with a crescendo. Using this warm up technique I was able to gain control of my air release. I was then faced with a 16 beat note that has to be held on in 'Say the Word.' To do this we made the warm up more controlled, breathing in for 8 counts then breathing out for 8, we'd then take it up by breathing in for 8, out for 12 - in for 8, out for 16 - in for 8, out for 20. By doing this I was training myself to conserve air even with the same intake. By doing this I was able to hold the note on for longer without it starting to fade or break as I had preserved enough air to keep the note strong. 

Exercise 3: 

- starting at the bottom end of the range, you count from 1 to 8 step by step, using one note for each number singing the pattern of: 1 121 12321 1234321 123454321 12345654321 1234567654321 123456787654321
- now the highest note has been reached, you go from this and move downwards: 8 878 87678 8765678 876545678 87654345678 8765432345678 876543212345678.  (https://www.youtube.com/watch?v=ERZqqagdRys) 

To make this exercise really useful we start to move it up a key, this means that each time we get to '8' it's a higher note than it was previously, this means that you are gently pushing your range as you're not jumping straight into the higher notes, you're gradually building up through notes you can sing confidently. This is the exercise I used for the song "Say the Word", as I could now sustain the 16 beat note but I now had the challenge of it being a C, a note that is in the 'break' of my voice when I transition between chest and head voice. By using this exercise I was pushing my self to use my chest voice for as many of the notes as possible, this is easier to do when going up in steps, especially when I know the note before the 16 count one is only a tone (note) lower but comfortably in my chest voice. 

Exercise 4: 

I wanted to look at more ways of strengthening the 'break' transition between head and chest voice. One that I found very useful worked with octaves. 

When trying this with my fingers balanced on my larynx I can how it shifts between high low notes. I used the last exercise within the picture to help push my chest voice, as when you start singing in a particular register, your voice tries to stay in the register as long as it can. This allowed me to work with notes in my transition area and subtly push my chest voice into the higher notes, expanding it's range. 

Exercise 5:

Singing uses the entire body not just the throat and mouth. Posture is key, making sure that the diaphragm, stomach and lungs are up right, with the chest held high is critical as it makes the production of sound easier. It is crucial that the diaphragm is able to expand and relax for the voice to be used to it's full potential. Warming up the body physically is just as important as it helps to make your body adjust from being a human to a musical instrument. 

Correct Stance: 

Head: upright 
Neck: relaxed, straight, supportive
Shoulders: held back and down, not strained
Chest: upright, held high
Arms: relaxed, either side of the body
Back: straight, supported
Hips (abdomen): firm, in an expandable position
Hands: loosely relaxed by the side 
Knees: flexibly loose, never locked
Feet: slightly apart, one slightly in front of the other, weight further forward.

- Stretching the spine by placing your feet apart, hands on your bent thighs, round your spine and bring your shoulders forward. This stretches the muscles within the back, elongating the spine and improving range of motion in the ribs. 

- Warm up the neck and upper shoulder muscles, tilt your head to one side, placing the hand of the arm the head is tilted towards, place slight pressure onto the head, this helps to elongate the muscles, warming them up. repeat on the other side and facing forwards. 

- Lift up one arm, use the other to pat the side of the stretched rib cage. Repeat on the other side. This gets the blood flowing and wakes up the chest area. Humming whilst doing this shows the effect of almost 'clearing the throat' in a way that removes the damage coughing can do to the vocal chords.  

- Massage the cheeks. The cheeks are so used and can become very tense. Gently starting to massage from the temples with your middle and index finger push in circular motions, moving into the cheeks to relieve tension. This will make it easier to control your mouth and sustain singing for a longer amount of time. 

I find that doing these after doing 'Exercise 1 (sirens)' prepares you do continue warming up your voice. 

Exercise 6: 

There are a variety of catchy warm up songs such as 'Many Men' that allow you to not only work on your range and gently warm up your voice but help with diction. I have used variety of tongue twisters and more difficult sentences put together with a melody, this helps to warm up the cheek and jaw muscles. Some of which are:

'Red Lorry Yellow Lorry' - moving up in a scale ascending then descending. 
'Chicken Tikka Mango Chutney and a Pint of Larger x3 Naan and Pillar Rice'  
'Bumble Bee x7 Wasp' - ascending and descending scale
'All I Want is a Proper Cup of Coffee, Made in a Proper Copper Coffee Pot. Tin Coffee Pot and Iron Coffee Pot, They're No Used To Me, No Sir! If I Can't Have A Proper Cup of Coffee in a Proper Copper Coffee Pot I'll Have a Cup of Tea' 
'Mini mini ma mini mini ma mini mini ma ma ma ma ma' 

Another song that has been used before my group rehearsals is 'the banjo song' which goes: 

'I used, to play, my old, banjo, and rest, it on, my knee. But now, the strings, are broken, and, it's no, more used, to me. I took, it to, the menders, shop, to see, what he, could do, he said, your strings, are broken, and, it's no, more used, to you' 

We then add a banjo noise to the word before each comma by moving the tongue between the teeth. This means to song will be sung more like: 

'I ulalalused, to plalalay, my ololold, banjololo, and relalest, it ololon, my knelelele. But nololow, the strililings, are brololoken, alaland, it's nololo, more ululused, to melele" 

I find this really helps me to use the entirety of my mouth as it uses this 'banjo' replication on all of the vowel sounds, you exaggerate, which helps for the jaw, cheeks and mouth to be warmed up. 

Sight Singing: 

Rhythm is the most important part of sight reading. You can have the incorrect pitch but be at the correct place which is a lot easier than having the correct pitch but having the wrong rhythm as you will soon become lost. Understanding time signatures, quavers, crochets, minims and rests will help you be able to follow the music competently. 

I already have a basic knowledge of sheet music and therefore my understand of rhythm is at a higher level than someone who does not play an instrument. I like to refresh and clarify my knowledge of notated rhythm by clapping out these type of notations: 

I then make the rhythm more advanced by adding in semiquavers, triplets and eighth rests. 

To really test myself I then play around with time signatures, this makes me use my head as I must work out the change in length each note would be. 

Once you recognise a rhythm and know you can confidently replicate then you can start thinking about the melody and the notes. 

Being able to read music is really helpful as I am comfortable with note names as well as the indication if they are a 'sharp' or a 'natural', this is also noted in the key signature. Knowing this will allow me to identify which notes will be pitched slightly higher or lower than what we'd usually expect. 

'The Solfege System' uses the commonly know tune of 'do re mi fa so la ti do' which can be used to help enforce an ascending or descending scale. 'Do' is always placed as 'the root note' (would be C in a C major scale or A in a A major scale). By singing the solfege system from the root note you will hit every note in that scale. 

The difference with songs is that the melody sung is not written in scale. To help me from jumping between notes I use solfege system by going up but between each note returning to the root note. example: Do Re Do Mi Do Fa Do So Do La Do Ti Do Do, by the end, the last jump will be an octave, the same note, but a whole scale higher. 

In preparation to sight singing I would use the solfege system replacing the lyrics to songs I already know with it. This is a great way to help myself develop an understanding of music and it familiarises myself with the system. Knowing that if I have the 'root note' I'd be able to identify the other notes more confidently. It can become tricky when the key changes as this means the 'root note' also changes. Working on it a section at a time is good for practice. 

When faced with the piece I would look at the sheet music and identify the key, from this I could play the root note on the piano and run the solfege scale a couple of times to get familiar with the notes that I will be singing. Then I can check the tempo and style, this will be indicated with vertical lines on the stave. There are also words in Italian that indicate pace, such as 'andante' - walking pace (90 beats per minute), 'allegro' - fast 'adagio' - slow are the most common. 

When tackling a harder piece I must try to focus on keeping the pace and rhythm as correct as possible, pitching the notes is harder but easier to fix, make sure you follow the notes position on the staves, getting higher as the notes move up. Finding a point where the root note or a familiar note is sung will help you get back on track with pitching but keep the rhythm going. 

'Insert Sight Singing Trial' 

19|3|15 - Contemporary Theatre - Applying Acting Styles - 'DNA'

We wanted to choose a piece that would contrast with the contemporary play 'Playhouse Creatures' - easy enough to do, as although it is a contemporary piece of theatre it is set in the restoration period and we are performing it in a Brecht style due to it's political feminist messages that can be highlighted through distancing the audience from a story line. As we have all looked previously at DNA from the perspective of directing, we thought about collaborating as a group to perform an extract from the second half that we feel we could do successfully in the naturalistic style of Stanislavsky. This is because a contemporary audience will be allowed to connect to the characters within the play, engulfing them within the story taking them on a journey. Although our audience will only see an extract, we know that the pieces we show will be in chronological order so the audience can connect and follow and collect an over messages on the nature nurture debate, whereas in 'Playhouse Creatures' there is jumps between each scene. This makes it so the message is evident in each scene regardless, allowing the audience to pick up on the feminist tone. 

We decided to the end of the group scene when Rachel and Cathy return from the police station. This is because it's the realisation that they are no longer safe. It starts the blame game between Richard, Cathy and Lea. Looking at the types of characters we cast such as: 

Lea: Poppy

Phil: Mia

Brian: Abbie

Cathy: Laura

Richard (with Lou & Danny's lines): Livvy 

I feel that the best way to deliver a performance through the the style of naturalism, is to look into my character. That way, I can understand my character with much more depth and apply Stanislavsky's 'what if' throughout the selected scenes to work on reactions to what is happening around me. Using this style helps to engage the audience into the messages we want to show throughout the play. We feel that 'DNA' deals with a time old question of 'nature vs nurture'. As the group deal with traumatic situations we can see how chaos is caused by the internal working of different feelings, morals and problem solving. I feel it is the plays aim to make the audience question themselves, do they deal with problems instinctively, is it just who they are, or have aspects of their upbringing moulded how they deal with situations. 

When looking at the character of Lea, we see her undergo a journey throughout the play. This is because she is brought into a group of kids who we would see as the stereotypical 'misfits' - where as Lea and her other half (she wishes) Phil, are the smarter, nerdy outcasts that rely on each others friendships. It is due to Lea's desperate desire for attention that she actually thrives within the group, and the group are desperate for help within their circumstances and Lea is willing to offer that as she desires to be depended on, something that Phil does not do. 

Lea’s character has an inability to keep her mouth closed. Awkward silences aren’t her thing unless she is the one causing them. Although she is not as popular as perhaps the others characters in Dennis Kelly’s “DNA”, Lea certainly has a self confidence that allows her to persistently pursue Phil, a boy whose speech is limited only to times it is required. I felt as if there were so many ways to read Lea’s character, making a stimulating character to portray. I began by reading through the script many times with different ideas about who Lea is and why she is the way she is, helping me identify the type of Lea I felt was honest and I connected to the most. To help me know how Lea was intended to be played I researched and found that Kelly said that he felt “Lea is the moral conscience of the play”. Having this in mind allows me to think that Lea in group situations will often stand to her own opinion thinking it is the right thing to do, she also thinks, or would like to think that Phil is the same as her when in reality he is more of a logical thinker which by the end of the play, disappoints Lea when his decision to kill Adam is immoral. 

 I looked a lot at how if I played Lea a different way, it would affect the reactions from other characters and how they may no longer seem appropriate. If I played Lea aggressively, would Phil really be the way he is with her? With his logic thinking, I think he’d walk away. Instead desperation is what I find in Lea. I think Lea is desperate for someone to see things her way, and she sets herself a challenge with Phil. Throughout the play you see Lea perform a variety of monologues that set out to grab the attention of Phil, whilst doing this she shows herself as a multi-levelled emotional girl. 

I feel that Lea would be of a slightly higher class in comparison to characters such as Cathy or Richard. The class barrier being something that had previously separated them must come down in order for them to resolve the situation. I also think that when John Tate no longer leads the group, the rest of the group look for new leadership within Lea and Phil, and due to Phil's quiet nature Lea fills the time that Phil is thinking for a solution. 

Now feeling connected enough to the character and understanding the way she may behave in situations, this means when going through and rehearsing I will find it a lot easier to bounce of how other characters are being portrayed as I will be able to become fully immersed in my own character and react and behave how she might. By making the character more believable I am allowing the audience to connect with my emotions, and if they don't identify with my emotions, their is a variety of attitudes within the plays characters and it can be seen that they will identify with the character that has the similar opinions and feelings towards solutions and how the character deals with the problem. This can help to make the audience reflect on themselves and their moral idea's. This message of 'chaos' or destruction being genetic, or does it come out being influenced by those around them.

12|3|15 - Contemporary Theatre & Applying Acting Styles - 'Playhouse Creatures'

We chose scenes that we felt were the most entertaining yet still contain a clear reflection on what it was like to be an actress within the restoration period. 

We read through the first few scenes together to make sure that we understood all the subtext and more old fashion notions through the play. There were also parts that we needed to see as a clear feminist statement. April De Angellis borrowed real life characters from the Restoration period and used them in her writing. 

Within 'Playhouse Creatures' there is Doll Common, Nell Gywn, Rebecca Marshal, Elizabeth Farley and Mrs Betterton. I'm going to look into these characters now to see any correlation to women in the past: 

Nell Gywn: (previous blog entry) 

Doll Commons: this is actually the name that Samuel Pepys, diarist and theatre enthusiast gave 'Katherine Corey' after seeing her in Ben Johnson's 'The Alchemist'. Katherine had one of the longest longest career of an actress in her generation. Pepys recorded that she was "a big woman with a gift for comedy" noted that she played a variety of roles, but mainly old women, mothers, governesses and waiting women. Whilst playing the part of Sempronia in 'Catiline', Nell Gywn was in a quable with Lady Harvey, and bribed Corey to mimick Harvey in her role. This caused Harvey to set people up to hiss and throw oranges at Corey. Harvey's rival Lady Castlemaine order the king to release Corey when Harvey had ordered for her arrest. Later on, Corey was part of a troupe that tried to form a new company under Henry Killigrew's management, but when this failed Charles Killigrew would not allow Corey to come back into the company until she appealed to the Lord Camberlain with the humble petition of being "the first and the last of all actresses that were constituted by King Charles the Second at his restauration." she was then re-admitted to the company and continued to play further characters. 

Rebecca Marshall: was the younger sister of Anne Marshall, another prominant female actress during the restoration period. She was a member of the King's Company until her last year of acting when she moved to the rival Duke's Company. Marshall was renowned for playing the villain or the dark side of the character in all female productions and where Marshall and Boutelle were an infamous pairing they were placed against the Duke's pairing of Mary Betterton and Mary Lee. Rebecca's beauty is noted to have caused her issues, she twice petitioned King Charles the Second protection from disruptive men in her audience. As well as being said to have fueded with Nell Gwyn. 

Elizabeth Farley: was noted down as Elizabeth Weaver, as one of the first actresses in the King's Company. Her maiden name was Farley, but used the name of Weaver even though she never apparently married James Weaver of Gray's Inn. Samuel Pepys hinted in 1668, she was a mistress of Charles the Second. She apparently had had a child with James Weaver and then later got into trouble for using her name, and then constant quabbles with other men although still remained to perform in company's. 

Mrs Betterton: Formerly Mary Saunderson, before marrying Thomas Betterton, was an actress and singer throughout the 1660's. It was due to her connection with her husband that allowed her to play several leading roles in performances of Shakespeare's play. Mary had a repuatation for virtue and was said to lead a "an unblemished and sober life." After Davenant died and Thomas Betterton took over the company, she continued to play minor roles, her final appearance was then in John Dryden's, Love Triamphant, where she played the leading female role for the last time. 

My first initial impressions of the characters, as we only had Farley, Doll & Nell were as such: 

Doll: a funny old lady, who is free spirited and takes care of the girls within the theatre as she knows her time being the attractive female is long passed. 

Nell: a more uneducated women, dreaming of being part of high society with potential due to beauty but having to work harder. Fairly naive and immature, but kind hearted 

Farley: a preachers daughter stuck after his death needing to find the money, has the education and enough looks to get her a job as an actress, but looks out for herself rather than anyone else. 

Chipp asked us too start setting the first few scenes and consider the scene changes and lighting. We first focused on the acting side, and we were told to consider how we could make it Brectian, the historical time period is one way, as this distances the current audience as they would find the issues and topics as something they can't really relate too, this is also a case with the characters and with a variety of age, religion and personalities it's hard for the audience to identify with one. The play also follows an epsisodic nature, jumping from scene to scene with no time lapse or development between scenes. As the play is dealing with idea's of feminism it doesn't not need the audience to connect emotionally to the characters on stage, rather provoke reflection on the critical view on stage. Brecht didn't want the audience to be emotional as it causes them to become complacent, rather adopt a critical perspective to recognise social injustice. 

We were then asked to consider the transitions between scenes and how to do them more interesting, this is where we noticed Doll almost calls the scene changes. This again created it as it was almost as if the characters were doing a play within a play. We felt that the characters should never really leave stage and that the audience could see the characters move their props and alter them into the use for the next scene or change or adapt their costume. As my character was Doll, I didn't change throughout, so I would be in charge of the set, baring in my my characters comical aspects these would create humour to see an old lady push and carry a set, as she is also a strong willed character who will try her all to do a good job. 

In the first scene Nell fears that her and Doll are dead. This is due to the eery and dingey setting. They are portraying spirits of the stage reflecting slightly on being on stage. 

In scene two, we see Mrs Farley breaking down when she cannot preach as well as her father, Nell asks her to teach her poetry so she can go for an acting job, but Farley tricks Nell into staying whilst Farley goes for the audition herself. This shows the competitive nature of the females within that industry. 

The next scene you see Nell showing Doll about her job as an orange seller within the theatre. This is accurate to Nell's character and it shows her ability to start her way in the theatre, oranges sellers often had to be good looking and were invited on stage to become part of the action. We then see an extract of Farley rehearsing for a show, this is where we can see the more sexualised nature. There is comedy within this as we see a woman who was previously a preachers daughter and becoming 'the fatal maiden'. When the amazon's arrive they are showing a parody of restoration theatre of the strong but sexy women that the audience, particularly the men, would crave. 

Here is a video of our blocking of it: 

https://www.youtube.com/watch?v=Tw-QHFt171c

Cast: 
Doll - Myself
Nell - Abbie
Mrs Farley - Laura
Mrs Betterton - Mia
Mrs Marshall - Livvy

We agreed the first couple of scenes that included Nell, Doll and Mrs Farley were a great way to show the competitive nature that was still there in those days. It shows the type of women that would often turn to acting and what would be desired of them, such as the appealing looks but the ability to read 'poetry'. We decided to use direct address, as we felt that speaking directing speech to the audience directly broke the fourth wall reminding the contemporary audience that they are watching a play. 

We then moved onto scene 9 - this looks more at Nell's first appearance on stage and how when she just showed a bit of skin and danced the audience fell to love her. This can tell us that men didn't go to see women at the theatre be talented, rather see women who have appeal and an ability to entertain. This scene's strong 

What we then see is the negative turn after Mrs Marshall is no longer the mistress  and manure is thrown in her hair from her old lover. Although the women are shocked - this is not as shocking as a current audience would be. The women seem to see it as something that happens, just not expected to happen to them. Being someone's 'Mistress' is something more common to the restoration period. 

Moving into scene 10 we see the women face more issues. There is a conversation between Doll and Mrs Betterton that discusses old age and the effect that has on their roles within the theatre, it is also then brought up later in argument. We see Mrs Farley attempting to borrow theatre property for her parties she has been invited too. This shows how it moved you up socially (due to looks) but the salary for being an actress was not enough to support this lifestyle without becoming a mistress where a rich male counterpart could support financially. Mrs Marshall returns attempting to make a voodoo doll of her ex-lover, this brings up the idea of witchcraft, a more common topic within that time period. By the end of the scene, we see that Mrs Farley's lover has moved onto the younger actress Nell, showing the constant cyclical replacement that women would face due to looks and age. It is through this that we see the sexual undermining that constantly set back the women who work hard. It shows that until women work together it is hard for women to not undermine each other with their sexuality to gain advantages in a world that revolves so much around the appearance of a woman. 

Another scene we include, is one where Miss Betterton explains to the group how her husband, Mr Betterton, who we know from research is a major part in the ownership of the theatre within that time, has told her she is no longer allowed to perform. We take a moment where Mrs Betterton says 'the younger ones must be given a chance' to use Brecht's technique of gestus. This allows us to create a physical embodiment of the attitudes of the characters within the time. This helps to reflect one of the feminist issues within the play to the contemporary audience. 

I wanted to look more at my character and how I would apply a Restoration acting style. 
As I am playing the character Doll Common in 'Playhouse Creatures' I wanted to discover the most successful way to play her when considering Brecht and Restoration acting. 

Bearing in mind we already know Doll: 

-is the nickname for Katherine Corey

-holding the one of the longest acting careers for a female

-played many servants, mothers and nanny's

-friends with Nell, bribed and the consequences ended with her being pelted with oranges

-she tried to form a new company, but it fell through and managed to get a petition that returned her back to her original acting company. 

Actresses at this time would not have been from a high class background, they would often appear to be as they would often be able to use theatre property such as makeup and dresses to transform into the characters on stage. This allowed them to mingle and socialise with characters from this period. 

In the play, however, Doll appears 'timeless', as an old woman. Through a lot of her lines I see Doll as a women who isn't really with it. Clinging on to any chance to remain within the theatre, which is why we often see her help out the younger actresses and sort out props throughout the play. 

The key to performing restoration theatre is mastering the whitty prose, I will have to be on top of my lines, never allowing myself to loose energy within the lines in order to keep the audience with me, this should not be seen as talking fast, just with control and an upbeat pace so the audience can understand what I'm saying. It was common in the restoration period for actors to manipulate this language for the purpose of entertaining the audience. 

There are certain archetypes found within restoration theatre, the fop and the wit etc, characters would often use the audience as a means to create humour, which links to Brecht's "spas" technique where he required theatre to be fun. Doll is plays an archetype of an old woman, by playing this stereotypically the audience will find it hard to see much depth to the character making her harder to emotionally comply with. With Doll's part, there is a monologue with a section directly addressed to the audience, this makes it easier to pick fun at members of the audience. Carrying it out considering Brecht, pointing at the audience and calling them 'lords and louts' although a typical feature of restoration theatre used to engage the audience,will actually distance the audience as they are not familiar with being called 'lords' allowing them to focus on the messages of the play and what Doll is saying about the theatres rather than making an emotional connection to the story. 

Doll is a bitter character, most likely due to rather than going up in the world of acting, peaking at a young age and then beginning to receive worse and worse jobs until we have reach the point where we see her. It is this bitter nature that contrasts with the rest of the women within the play, Doll has no need to compete for a better part, or to be a mistress to a handsome man. It is this that allows her to say what she pleases and she has no one left judging her. 

The location of the play is set in London, and most actors and actresses will have been locals due to the social class of performers and the costs of travel, this means that when not on stage we would most likely hear a more common cockney acccent. I feel that as Doll was a very well loved actress, that she may have played around with her voice when hanging around the well off men that invited her out after shows, her voice may now just appear more rough. It would also have a fairly tired tinge to her voice due to her older age. This will also be apparent in her physical nature, I'm not expecting her to be slow or too feeble, but would not be wearing a corset like the other ladies, making her posture more relaxed. To follow with the consideration of Brecht, once of stage, I will appear to be my own self, reminding the audience that this is a play carrying through the feminist political messages that April De Angellis expresses. 

5|2|15 - Historical Context & Contemporary Theatre - 'Restoration Theatre'

To prepare for the Contemporary Theatre unit, where we will be looking at the script 'Playhouse Creatures' by April De Angelis, a feminist writer, which focus's on actresses within the restoration period and the discrimination and degraded opinions their society had on them. I have done research on this time period to find out more to do with theatre and the people within that society. 

This research is also part of my Historical Context unit, as I look at the play 'The Country Wife' written during the restoration period in which 'Playhouse Creatures' is set. My research will allow me to discover how the play 'The Country Wife' would have been performed due to the receiving audience. 

For this research I used sources: http://www.gradesaver.com/the-country-wife/study-guide 
http://www.universalteacher.org.uk/drama/countrywife.htm

Restoration Theatre:

Between 1642 and 1660 the Puritans aimed to drive out what they thought was sinful theatre, meaning there was little theatrical activity in England during this time. Once that law expired, many theatres were dismantled during eighteen years of stasis after Oliver Cromwell passed a law declaring all actors were to be deemed as rogues.  
British theatre went through a time of renewal when Charles the II returned from his exile in France, creating the restoration period as he began restoring the monarchy. Charles had enjoyed his time in France and became a huge patron of theatre. He set up two new theatre companies whose performances were influential on the growth of British theatre:

“The Dukes Men” – led by Sir William DavenantThe company was under Prince James Duke of York’s patronage. Davenant drafted a document that gave him and Killigrew duel monopoly over the theatre companies; he was able to do this after receiving a warrant to build his own theatre during 1639. He was also the writer for two operas performed during the Puritan regime which cemented him as a reliable manager. Davenant believed that spectacle was the best way forward for theatre due to his background in masque. He went into creating theatre spaces with changeable scenes and updating performances to make them feel new to the audience. As he was only given 23 plays in comparison to the King Company’s 108, Davenant turned his company into writing new adaptations of pre-restoration work that he did have, working with writers such as George Etheredge, Rodger Boyle and John Dryden. Henry Harris and Thomas Betterton were the next set of managers for the Duke’s company and built the theatre house, which was under the watch of Davanant’s wife. Both Harris and Betterton were star actors within the company. Inspired by European theatres the theatre house were state of the art containing boasting machinery. The Duke’s Playhouse opened on 28^th June 1661 in Dorset Gardens with the performance of ‘The Seige of Rhodes’, the new theatre showed the possibilities for the company to create rich and dramatic theatre. 
“The King’s Company” – led by Thomas KilligrewThe company fell under the sponsorship of King Charles himself. Killigrew put the companies management in his son Charles’ hands after 1671 after Killigrew sold most of his interests in the company. It was in 1682 that the King’s Company and the Duke’s Company merged to become the so called ‘United Company’ under the leadership of the Duke’s Company’s people. King’s Company had many more of the more experienced actors such as Michael Mohun, Charles Hart, John Lacy and even Thomas Betterton (who would transfer to the Dukes later the same year before Lord Chamberlain forbidded such transfers). Killigrew quickly expanded his group by bringing in fifteen new male members and then further adding the first actresses on the English Stage, starting 1661. Killigrew’s motivations for entering into the theatrical business was not so much artistic but monetary. He delegated most of his managerial tasks to the senior actors and sharers. He did not exert and was said probably wouldn’t have been able to have had strong control over an artistic direction of the company.
Venue and Set
Theatre became a leisure activity for the upper class, due to the flamboyant style of King Charles; theatres became lavish as they developed scenic innovations. One influential designers of the 18^th Century, Philip Jacques de Loutherberg, was the first designer play around with the depth and dimension of the stage by breaking up the floor space with pieces of scenery. Other designers experimented with lighting, the placement of giant chandeliers which hung over the floor of the stage as well as using candle light.
The Duke’s Company playhouse was noted to have a small stage and proscenium arch, the scenery consisted of wings fronting pairs of large painted flats that were able to move along grooves set in the floor and flies of the stage. This was the first public playhouse to use such setting and impacted the choice of play heavily as it turned them into magnificent spectacles using decorations that had not been used before.
The first permanent venue for the King’s Company was responding to competition from the Duke’s Company more advanced theatre in Lisle’s Tennis Court and was Gibbon’s Tennis Court in 1663. Killigrew built and opened the King’s Playhouse, known today as ‘Theatre Royal, Drury Lane.’ The original theatre burnt down in 1672 and was rebuilt and reopened in 1674. Following little artistic direction from Killigrew, the set followed a more traditional and basic route within no motivation to become modernised.
Actors
Performances were usually light hearted and created humour by interacting with the audience, often mimicking or making fun of the audience. Actors would get paid depending on how popular they were, and they also played the same types of role, tragic actors always played the tragic roles. The female was known as the ingénue (innocent or unsophisticated woman) and the male known as the juvenile (young person). This meant that there were primarily three types of characters seen within each play.
The Fop:This would be the character that the richest members, who sat closest to the stage, of the audience would relate to; due to his posh and flamboyant nature. He would be shown to care highly about his appearance and would often be the source of satirical humour within the performance.
The Rake:The frivolous womaniser, who would undergo the carefree things in life, rich through inheritance would spend their money on gambling and drinking wine.  This would be the man that the ladies would swoon over as he’d be the male dominant within the play.
The Wit:This would be the character that creates humour through natural aptitude of using words in a quick and inventive way.  He would often use well known members of the audience to create a personal aspect of the theatre that mocked but inflicted comedy.
Thomas Betteron, one of the most famous restoration actors, was noted by men such as diarist Samuel Pepys as the best in the world, speaking of Betterton’s ability to ‘command attention even from the fops and flower girls.’ Betterton’s first stage appearance was in 1660 at the Cockpit Theatre in Drury Lane after John Rhodes obtained a licence to set up a company of players. His strong talents brought him prominence and therefore lead roles. As well as being a public favourite, Charles the Second was a huge admirer and even sent Betterton to Paris to examine stage improvements. Betterton’s inability to dance or sing kept him from being no more than chief consultant in the spectaculars but he continued performing in traditional plays. Other restoration actors include: Colley Cibber, Thomas Otway and Cave Underhill.
Actresses
Before the restoration period, all female roles were played by young men or boys as females weren’t allowed on stage. The return of the theatre meant that rules such as these were no longer in place. Females were now allowed on stage but the portrayal of them was often focused on their physical appearance rather than their talent or acting ability. Due to this women often had a very limited stage time because as soon as they lost their “appeal” they would be replaced with a new girl.  The parts that the female would play would often be naive females, they would attract and intrigue young men through suggestive scenes where skin would be revealed in order to get the crowd cheering as this would show their popularity and keep them in the business longer.
Even though it was in 1660 that it was the first time women were allowed to perform on stage, this was less significant at the time. This is because there is no precise record of a specific actress, suggesting that it was not recorded. One example of one of the first recorded female actresses is Mrs Eastland, her named only appeared on the cast list nine years after the company started, and her name doesn’t appear on any dramatis personae until 1669 and she only ever played minor parts.  For men the acting profession was a respected and successful career whereas woman who pursued a career in acting showed no serious pretentions to respectability. Although, companies would have to find a middle ground of class as the nature and demands of an actress would require them to learn lines quickly and have a civilised etiquette. This can suggest the overall significance of men compared to women within companies such as ‘The Kings Company’ and that in spite of the allowance of women in the theatre, the patriarchal nature within theatre was still very evident. The first noted female actors, members of the King’s Company included, Anne Marshall, Mary Knep, Elizabeth Boutell, Katheine Corey, Margaret Hughes, Elizabeth Cox, Elizabeth James and the most famous, Nell Gwyn. 
Margaret Hughes may have been the first professional actress in England, but there is debate between herself and Anne Marshall to be such title. Margaret was known as the mistress of the Civil War General and later the restoration admiral, Prince Rupert of the Rhine. She was famous for her charms as an actress, more focus on her looks than talent noted by Samuel Pepys as ‘a great beauty’ ‘fine figure and particularly good legs.’ Predicted to have been involved within many men and have an illegitimate son. It was her relationship with Prince Rupert that meant Hughes received rapid advancement through his patronage, becoming a member of the King’s Company, high in status and become immune to arrest and lived a very expensive lifestyle.
Nell Gwyn, another one of the first English actress, was also a mistress of King Charles the Second. She has been regarded as the living embodiment of the spirit of Restoration England, noted by Samuel Pepys as “pretty, witty Nell.” She followed a rags to royalty tale and was the most famous restoration actress due to her remarkable comic talent. After being left in a low situation Nell experimented with cross dressing between 1663 – 1667 under the name of ‘William Gwyn.’ She then used her observations to create a successfully hilarious character interpretation acting as a man on the stage in March 1667. Mary Meggs, “Orange Moll” as a former prostitute, was a friend of Madame Gwyn, had been granted the license to sell oranges, lemons, fruit etc within the theatre Orange Moll hired Nell and her sister and scantily clad “orange-girls.” This work exposed her to multiple aspects of theatre life and to London’s higher society, as this was within the King’s Playhouse and Charles frequently attended performances. Nell was only fourteen when she joined the rank of actresses at Bridges Street, a year after becoming an orange girl. Her good looks, strong clear voice and clear wit caught the eye of Killigrew, but yet she still had to prove she was clever enough to succeed within the profession. Gwyn herself agreed that drama did not suit her but it was in the new form of restoration comedy that Nell Gwyn became a star. 1671 was almost certainly her last season, her theatrical career spanned seven years and ended at the age of 21.
Changes
The appearance of women on the English stage was just one change that happened during the restoration period. But, there were many changes within this time: disappearance of ‘national types’ as different cultures began borrowing entertainment such as opera, tragedies, romances. It was from this restoration time that every European nation was influenced by the drama of every other nation. Plots, themes, characters and situations were always being modified as they travelled country to country and sometimes supplanting the home product. Even with this foreign drama, there was still the persistence of Elizabethan Plays, after the opening of theatres the practice of “improving” Shakespeare began, where his plays were altered, sometimes beyond recognition. They often acquired a political slant, where as the royals were flattered and supported by the stage, the Puritans were satirized. Restoration comedy was noted to be far inferior to the Elizabethan, whose dramatists were steeped in poetry, the later ones a reflection of the sophisticated and fashionable world. Restoration comedies were not often mere imitations, but original observation and independence of thought, it was this drama that kept theatre alive in the face of great public opposition. 

Lesson- 

We started the lesson by going over a piece of movement that Mia, Laura and Abbie had created the week before that captured what it would be like to be a women during the restoration period. We had to think about the bone corsets that they would wear which restrict the movement of the upper half, to show this our posture would be upright, we would look stiff from the hips upward and the ability to turn or twist would be nearly impossible. The largeness of their dresses would restricted the amount of chair they were able to sit on, this meant we would replicate this by only using a matchbox size of the chair. We also looked at the use of a fan, women during the 1600's would often use their fans to communicate or send signals, these are a few: 

1) THE FAN PLACED NEAR THE HEART: "You have won my love."

2) A CLOSED FAN TOUCHING THE RIGHT EYE: "When may I be allowed to see you?"

3) THE NUMBER OF STICKS SHOWN ANSWERED THE QUESTION: "At what hour?"

4) THREATENING MOVEMENTS WITH A FAN CLOSED: "Do not be so imprudent"

5) HALF-OPENED FAN PRESSED TO THE LIPS: "You may kiss me."

6) HANDS CLASPED TOGETHER HOLDING AN OPEN FAN: "Forgive me."

7) COVERING THE LEFT EAR WITH AN OPEN FAN: "Do not betray our secret."

8) HIDING THE EYES BEHIND AN OPEN FAN: "I love you."

9) SHUTTING A FULLY OPENED FAN SLOWLY: "I promise to marry you."

10) DRAWING THE FAN ACCROSS THE EYES: "I am sorry."

11) TOUCHING THE FINGER TO THE TIP OF THE FAN: "I wish to speak with you."

12) LETTING THE FAN REST ON THE RIGHT CHEEK: "Yes."

13) LETTING THE FAN REST ON THE LEFT CHEEK: "No."

14) OPENING AND CLOSING THE FAN SEVERAL TIMES: "You are cruel"

15) DROPPING THE FAN: "We will be friends."

16) FANNING SLOWLY: "I am married."

17) FANNING QUICKLY: "I am engaged."

18) PUTTING THE FAN HANDLE TO THE LIPS: "Kiss me."

19) OPENING A FAN WIDE: "Wait for me."

20) PLACING THE FAN BEHIND THE HEAD: "Do not forget me"

21) PLACING THE FAN BEHIND THE HEAD WITH FINGER EXTENDED: "Goodbye."

22) FAN IN RIGHT HAND IN FRONT OF FACE: "Follow me."

23) FAN IN LEFT HAND IN FRONT OF FACE: "I am desirous of your acquaintance."

24) FAN HELD OVER LEFT EAR: "I wish to get rid of you."

25) DRAWING THE FAN ACCROSS THE FOREHEAD: "You have changed."

26) TWIRLING THE FAN IN THE LEFT HAND: "We are being watched."

27) TWIRLING THE FAN IN THE RIGHT HAND: "I love another."

28) CARRYING THE OPEN FAN IN THE RIGHT HAND: "You are too willing."

29) CARRYING THE OPEN FAN IN THE LEFT HAND: "Come and talk to me."

30) DRAWING THE FAN THROUGH THE HAND: "I hate you!"

31) DRAWING THE FAN ADROSS THE CHEEK: "I love you!"

32) PRESENTING THE FAN SHUT: "Do you love me?"

I found this exercise useful as a starter activity to get me thinking about what it would be like living in that time period. We read an extract from 'Our Country's Good' that showed us the sexualised and suggestive parts that females were limited to, this got us speaking about how the world of theatre was for women at this time. Chipp asked us if we thought it would've been competitive? I said yes, maybe even more so as it was a note of your own beauty, social stature and who you knew rather than your talent. And with so little parts to actually recieve women would only have a short time to actually be an audiences favourite before being replaced with a younger, prettier woman. With this, me, Abbie and Laura created a short piece that showed the focus on looks within theatre and the never competitve nature of being replaced that would occur for actresses within the Restoration period. We used dynamic movements with the incorporated the use of the fan in order to add the feminine touch.

https://www.youtube.com/watch?v=YS31MWTMGNU

We then carried on looking further into this but with the context of 'Playhouse Creatures' in mind. Noting that the play looks at five women, actresses within the theatre and the struggles, Chipp gave us an improvising task of receiving three type cast roles within the theatre and the discussions they would have backstage. 

He gave myself the role of the more mature and experience actress. Abbie was a young woman, who was the patrons mistress and Laura was a young aspiring actress. We were asked how we thought our own character would deal to receiving a new piece of script. As mine was more experienced, I think she'd know she needed to go for the more 'serious' female part offered, even though it is a more minor part and means that they are no longer the crowd favourite. They'd be slightly jealous because it is the knowledge of being replaced by the prettier ones. Abbie's character, would feel almost as if they'd be given the part she desired due the patron having influential power within the theatre's company. Laura's looks meant that she was in the winning to have the ideal role, that would have the most stage time and gain popularity. To maintain a theatre standard she would also need to have the correct class and intelligence as well as looks in order to prove herself worthy. This would be something that might make the other characters feel inadequate. 

In our improvisation, something that became apparent was the constant fear that one had something the other didn't, the experience of the eldest, the security of the mistress and the beauty of the youngest. I feel that because of the focus was on the beauty for the youngest myself and Abbie were patronizing Laura due to her lack of experience but also through bitter jealously. This came with us telling her how she didn't really need to look at the lines, just look pretty and she'll get the role where the men will want her. 

Chipp told us that these idea's are running themes and plots within Playhouse Creatures. Showing the progression and understanding that female actresses had when working in the theatre environment. 

'The Country Wife'
'The Country Wife' is a restoration comedy written in 1675 by William Wycherley, reflecting aristocratic and anti-puritan ideologies. It is renowned for it's explicit sexual context even though restoration theatre was known for it's provocative nature. It's based on plays by Moliere (Jean-Baptiste Poquelin), well known for his comedic acting and playwrights within western literature such as: The Misanthrope, The Miser and the Imaginary Invalid.

Characters

Henry Horner
The main 'rake' within the play, known well in London for his notorious relationships with women. He decided that to receive sexual access to more 'respectable' women that he would spread rumour that he is a eunuch. This is successful throughout the play and in doing so brings out the moral failings in others, but yet because of his own sexual conduct and the effort put into this we see him as the unprincipled. 


The Quack
A doctor that Horner has employed to spread rumour of his new impotent status due to him now being a 'eunuch'.

Jack Pinchwife
Newly married to 'the country wife', Margery. He was before a rake, which causes Horner surprise when he finds out that Pinchwife is married. He portrays the archetypal jealous husband, he does not think that his wife loves him more that he has ownership due to marriage causing him to constantly fear being cuckolded. His nature is deemed quite violent in the anger consequentness from jealousy and fear. 

Margery Pinchwife
The title of the play is named after this 'Country Wife', who is new and naive to the ways of London on her first visit down to see Alethea's wedding. The allure to Maragery is her unrefined sexual vitality and the juxtaposition of her natural being with the corruption of hyper-civilized Londoners. 

Aleathea Pinchwife
Is the sister of Jack Pinchwife. For finical reasons she must be married off, which is why she is engaged to Sparkish, where even though she admires his lack of jealously she falls for Harcourt upon meeting him, as she values his intelligence and gallantry. She is one of the only characters that has not allowed London to wear away her morals yet gained wit from the pleasures that London brings, which makes her one of the most admirable people within the play. 

Frank Harcourt
a 'rakish' friend to Horner and falls for Aleathea early in the play. By the end of the play Harcourt is transformed into an image of marriage to be based on mutual love and devotion after flirting with Aleathea in front of Sparkish, who does not get jealous, and they fall in love with each others good nature. 

Mr. Sparkish
Considers himself wrongly a 'wit', but within a restoration performance could be considered a fop with his flamboyant character. We see him as shallow as he is drawn to Aleathea by the 5,000 pound dowery that she carries. While we see him as incapable of getting jealous, this is actually because he views the attraction and displays of affection as adding of value to Aleathea, who he thinks is his property. 

Mr Dorilant
A rakish friend to both Horner and Harcourt. 

Lucy 
The maidservent to Aleathea, encourages the courtship to Harcourt and with her intelligence helps to create schemes to let them be together. 

Misstress Squemish
A member of the 'virtuous gang' and yet secretly a conquest of Horner's. 

Old Lady Squemish
Grandmother to Misstress Squemish attempts to preserve her granddaughters purity. 

Sir Jasper Fidget
The first man we see to find endless amusement in Horner's new impotent status and is therefore happy to trust him with his wife in hope that it will discourage her from other more, potent men.

Lady Fidget
Wife to Jasper, she prides herself on being a leader of the 'virtuous gang' but yet this is revealed to be hypocritical as we find her availing herself to Horner in private yet maintaining her virtuous facade for the public. In later parts of the play she creates a defence of high-born ladies hypocrisy. 

Dainty Fidget
Sister to Jasper, another member of the 'virtuous gang' and another conquest of Horner's. 


Plot
In act one, after we have discovered the new impotent status of Horner, Sir Jaspar brings his wife and sister around to see if the rumours of this are true. It is Horner's aversion to the sex that leave Sir Jaspar to feel comfortable enough to leave the ladies in his companionship, as much to their disgust of him. Sir Jaspar wishes that Mr Horner will become a mere distraction with little harm. Once gone he proves to the Quack that the plan will work, as rumour spreads of his 'eunuch' status, he will be able to gain acquaintance with women who do not wish to tarnish their reputation but are still attracted to Horner. 

We are then introduced to Harcourt and Dorilant who rather than laugh at Horner eunuch status, pity him and want to take him to the theatre and ignore the attitudes of the public. This is where Horner informs the two that he thinks women get in the way of male friendship. Then enters Sparkish, claiming to have left a duke and dine with them instead the three reject to false 'wit' status Sparkish tries to give himself, mocks Horner and he departs to dine with his fiance before the play. 

We are then introduced to Pinchwife, who informs us that he wanted to keep his new marriage hidden from the Horner due to his reputation, but he has not yet heard of the rumours about Horner. We discover Pinchwife lying about the apperance of his wife in fear of becoming a cuckold. 

Act Two we are introduced to Aleathea and Maragery (The Country Wife) where we see her egerness to walk around London and Aleathea explains to her that Pinchwife is jealous. There is then an arguement between the brother and sister where he begs to keep Maragery as ignorant as he does. By accident, Pinchwife reveals to his wife that a man had seen her the previous night at the theatre and been attracted by her 'homely country girl' apperance, Margery is thrilled and enthusiastic to know more. 

We then move to the theatre where we are provided with the beginnings of the subplot between Alethea, Sparkish and Harcourt. Sparkish shows of his fiance and it grabs the attention of Harcourt, yet Sparkish encourages it much to Pinchwifes disgust. Alethea does not find Sparkish lack of jealously as a sign of ill-loving rather a trust in her virtue. When Sparkish feels his honour may be attacked he asks for Pinchwifes help to kill Harcourt, but Aleathea interfears and lies to put all right. 

When 'the virtuous gang' go to attempt to take Mrs Pinchwife to the theatre her husband refuses, leaving the women to discuss whether comitting adultery with a high born or low born man is better, finiliasing that with low born it is less known. If it is not known it can't hurt their honour neither their husbands. It is Horner's money that allows herself to follow Sir Jasper's plan to let him take them to the theatre. 

Mrs Pinchwife explains how she no longer wants to return to the country until she has met the man who says loves her. Mr Pinchwife blames Alethea for his wife's curiousity of London men. As her determination grows, he accepts to take her and asks Alethea to help create a disguise, she suggests a mask but he states it just makes men more curious and instead dresses her as a male. 

Now all of the main plot lines have been introduced, we are able to see how the characters try to achieve their own personal goals. There follows a 'letter' plan by Mrs Pinchwife where she deceives her husband sending him off with the wrong letter in order to tell Horner her feelings towards him. This then develops to a point where he catches her writing another letter, which she says is from Alethea attempting to marry Horner instead of Sparkish, this seems like a better situation as if Horner marries Alethea, Margery will no longer be able to feel towards Horner. She then dresses masked as Aleathea and tells her husband to take her to Horner. 

The 3 women of 'the virtuous gang' are in Horner's lodgings, becoming very drunk and they begin to talk more about their frustrations and judgements with a more lower class tone. During this all three women express how they thought they were all exclusive lovers to Horner, rather than becoming angry at this, Lady Fidget wishes they all keep Horner's lie a secret in order to maintain their reputation. 

With the confusion Pinchwife has over his sister, he see's her later after leaving his disguised with Horner, this is where she confesses her wish to be married to Harcourt. Pinchwife, outraged when his wife comes through saying she wishes to be with Horner says he has been cuckolded and tells Sir Jasper, who is also present, that he will have been too. This is where Pinchwife first hears of Horner being a eunuch. There is much debate and quarrels on the truth of this. The Pinchwife's admit their unhappiness and Lucy insists that Margery only loves Horner due to the "innocent revenge on a husband's jealousy." Where Mr Pinchwife admits Cuckolds and lovers both deceive themselves. 

It finishes on an epilogue by Lady Fidget that would speak to the rakes within the audience that although their rake behaviour may impress other men they do not fool the women. 


Themes 

Innocence vs Experience
It is clear throughout that Margery, the country wife from the title, reflects the innocence of the country in comparison to the experience that the town life offers. The audience perceives her as naive as she has ability to detect deceit with is why she whole hearted believes that as Horner has said he loves her he could not 'ruin' her. It has been criticised that as she spends time amongst the people in London she develops those traits of deceit such as when she tricks her husband to send the first love letter to Horner. If we say that she maintains her innocence we can say that her remove to Hampshire at the end of the play is a form of banishment as the real world cannot provide for true kindness, honestly and simplicity. If we believe she has been tainted the message is far darker that experience of civilisation corrupts viciously if it can corrupt a girl of such innocence. 

Marriage
Wycherley has depicted two types of marriage relationships. One through Pinchwife, where he grooms ignorance into his wife in order to keep her submissive and pure. Sir Jasper abandons his wife, leaving her to travel and enjoy "safe" companionship. The marriagel breakdowns can be shown through the contradictions finds within the fact the assumption of restoration time that wives can be safely neglected but should be kept ignorant. Just as men, the women are shown to require sexual connections which leads them onto men like Horner, which he shows through "for they are sure to make their women hate them, which is the first step to their love for another man."

Staging

The theatre's during this time were no longer open air, but closed with very dim lighting. No longer a standing audience in the pit but benches where wit's (such as Sparkish) desired to sit for it's miscellaneous nature. Then followed by three tiers of galleries, the lower the most expensive with a box for royalty and the highly wealthy. The second tier split into boxes and then the third were seats, the cheapest in the house. 

The stage had two sections, the proscenium/forestage was where the main action would be shown extending into the auditorium, whereas the inner stage was the setting for scenic effects. This proscenium arch was new to the English Theatre. By the time that 'The Country Wife' was performed at the new Theatre Royal, they had the ability to move sets due to sliding shutters as well as sound effects. 

Rather than the Duke's company who remained to focus on the spectacle, a continuation of a pageant tradition where famous well known actors would perform fancy allegories. This disregarded the importance of quality of acting and script writing which is what Killgrew focused on over at the Theatre Royal. Which is where Restoration theatre seemed to develop it's well known traits of comedy, actor-driven banter and witty innuendos. 

The restoration comedy focuses on depicting characters that are from the same social background as the audience, carrying over their ideologies, and although may appear two dimensional are still representational. 

Linking all of these idea's to the audience within the time, it's not a surprise that the play is so incredibly sexually orientated with the introduction of women they could create more promiscuously entertaining shows that people would want to watch. As well as the new idea's of marriage that had recently passed that it was now a legal contract rather than a sacramental bond. This then drove the play to run on the moral questionings that the society was already experiencing. 

1670's audiences demanded features within plays, these things can be found in 'The Country Wife':
- Colloquial prose dialogue
- Complicated entwining plot
- Double entendre (innuendo's) 

The sex jokes are provided through the initial plot of the play where 'the rake' pretends that he has become a eunuch in order to be trusted with men's wives and safely have  affairs with them. Even Horner's name itself provides as implication of sex. This is then entwined with the introduction of 'The Country Wife' who has recently moved to London and her inexperience and desire to discover the joys of town life, especially the London males. This allows characters to use London colloquialisms within the prose style dialogue.

(Evidence of subtext - Horner, a pun within the characters name itself, still flirts with the women as to the unknowing nature of the males pretence that Horner has spread of himself.)

Lady Fid. Ay, he’s a base fellow for’t. But affectation makes not a woman more odious to them than virtue.

Horn. Because your virtue is your greatest affectation, madam.

Lady Fid. How, you saucy fellow! would you wrong my honour?

Horn. If I could.

Lady Fid. How d’ye mean, sir?

Sir Jasp. Ha! ha! ha! no, he can’t wrong your ladyship’s honour, upon my honour. He, poor man—hark you in your ear—a mere eunuch.

The famous 'china scene' is a clear example of the humorous double entendre in the play as they use the idea of 'giving china' an innuendo for a sex but continue to play on this creating dramatic irony where the man can only appear naive of the lie Horner spread of him being impotent. 

On reflection of the explicit nature of the play, many theatres would not allow 'The Country Wife' to be performed. It was replaced by a cleaner version by David Garrick of 'The Country Girl' that removed the outrageous sexual jokes, although the bland version was not very successful as the provocative nature deemed a necessity for the restoration audience. The positive opinion of the witty linguistic energy, sharp social satirical humour and ability to be openly interpreted has become more popular. 


If 'The Country Wife' were to be performed to a modern day audience, we'd have to make adaptations in order for the play to have a similar effect that it would do for that of a restoration audience. To do this we could: 
- Modernise aspects of the play. Update the characters, transfer them over to modern day versions of rakes and fops. The new city girl with makeup, expensive clothes, where as country wife more homely and natural yet still beautiful. The 'camp' man. 
-Drawing on the male dominance and emphasising the similarities that still exist today such as the difference between male and women and how they are judged on expressing their sexuality. 

-Need to find a way to reconnect the audience with the morality of the play. Keep the traditional restoration theatre atmosphere interacting with the audience as the theatre was about the audience (their society) 

-Still making the same themes clear, the political and the idea of a new style of theatre. 

-Offsides or direct links to the audience become more direct, as an audience no longer has the rigid social limitations to where they can sit.