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.