choosing scenes and performing scene studies:

As mine and Daisy's scene is not 10 minutes, Ella wants me and Daisy to do another scene with someone else so I chose Michael. We decided to try the scene from Motortown between Danny and Marley.

Then the first and second years showed our scene studies / duologues. Me and Daisy set it as me playing Nicolas and I was sitting down and Daisy who played Gila, was standing up the whole time. Our feedback was that it works and it's very good and Daisy played her character strong and with my character that I should just stand up more because I only stood up once which was when the script told me too so they just told me to stand up more when I actually wanted too.

Me and Michael didn't show our scene as we only chose it that day. So we need to work on it more and let Ella know that we have this scene to do. I am excited about working with Michael as well as Daisy because I never usually work with them and it's a different type of partnership.

My scene with Daisy is from One For the Road between Nicolas and Gila. Page 378 to 384.

My scene with Michael is scene five from Motortown and it is between Danny and Marley pages 41 to 42.

 

 

Plays we will do

Ella thought about doing two shows split in half for our final major performance. Because on of the plays has a much smaller cast and the other one has a bigger cast.

The first one is 'Pornography' by Simon Stephens and this is the one with the much bigger cast. 

'Pornography is the stark and shattering play by Simon Stephens that captures Britain as it crashes from euphoria and promise of the 2012 Olympic announcement into the devastation of 7/7. Each monologue or playlet focuses on a different individual, walking in their shoes in the run-up to the tragedy. The play was first presented in 2007 in Hanover, Germany; in the UK premiere was in 2008 as part of the Edinburgh Fringe Festival'. 

And the other play is 'Motortown' this is the smaller cast and we are currently reading through it at the moment. We have so far only read 4 scenes but will continue to read more.

UPDATE!!!!! :

So now we are splitting contemporary in a different way. Everyone will be in Pornography and that will be performed in February. The other half is that we have got in partners to do scene studies for contemporary pieces, I am partnered with Daisy and we are planning to do a scene from 'One For The Road' with the scene between Nicholas and Gila but we are changing the role of Nicholas to a girl, as we are both girls and Ella said it could work making the character a girl and having two girls doing a scene from that play.

Ella has mentioned that we may not do Pornography because she may have another idea but has not confirmed it yet or said what the other one could be. 

Scene Studies

as part of our contemporary unit, we are doing scene studies. My partner is Daisy and we have chosen the play 'One for the road' and have decided to do the scene with Nicholas and Gila.

On 18th November, me and daisy read through the scene twice so we both could have a go at reading parts. Afterwards the decision was made that I would read Nicholas and Daisy would read Gila. But also, if we show it too Ella and she thinks the choice of roles are not suited to us, we are quite happy and open minded to switch roles.

The scenes have to last up to 10 minutes for a minimum but it okay if it goes a little over.

Read Through's in class

So far we have been reading a few scripts of contemporary theatre. We are currently reading 'Shopping and Fucking' which was written by Mark Ravenhill. It is very different to anything I have read before, I think it's very interesting. There are some stages where I cringe a little and feel slightly uncomfortable / awkward. I have never done contemporary theatre before and in my eyes it is a lot more serious than most types of theatre.

I found this description of 'Shopping and Fucking' on this website: http://www.dramaonlinelibrary.com/plays/shopping-and-fucking-iid-11765


Shopping and Fucking is a witty and shocking look at a corrosive disposable world and a numb, desperate generation. The play opened at the Royal Court Theatre, London, in 1996 and is central to the Nineties movement sometimes called ‘in-yer-face theatre’.
Ravenhill takes the names of his four main characters from pop stars and shows them buying, selling and stealing whatever they can – drugs, sex and ready meals. Mark used to work in the City but is now a recovering junkie; after a topless audition for a shopping channel Lulu is asked to sell ecstasy by her interviewer; Gary, who has been sexually abused by his step-father, is an underage prostitute looking for someone to fulfil his violent fantasies; Robbie tries to make enough to pay the threatening landlord by setting up a phone sex line with Lulu. With a raw mixture of black humour and bleak philosophy, the play shows the lives of disconnected youth reduced to transactions by a dysfunctional consumerist society.

Characters in 'Shopping and Fucking'

Lulu: In my eyes, Lulu is a mother like figure in some of the scenes in this play. Also I feel she's very insecure with her feelings towards Robbie. There was some point whilst reading the script that it seemed like Lulu's and Robbie's relationship was more like a mother and son or sister and brother type of relationship. But Ella pointed out that the opinion could change by just reading two or less than two scenes. & it has, but I do think the relationship between them is very odd and she is very quiet about her feelings.

Robbie: In my opinion, I think Robbie is so attached to Mark. He loves him so much. But also I don't think Robbie really thinks of what he is doing, and that sort of situation has come up a lot whilst reading the play. I don't think he realises what his personal choices will impact on current situations.

Mark: I think he is a little messed up, he changes his character every now and then. Kind of like one minute he will be trying to change and then next thing, he's running to other boys/men. I personally do not understand his relationship with Lulu and Robbie but then again I don't know loads about the play.

Gary: He is a young boy but so far I do not know if he is telling the truth about his age. He seems like a little wind up towards Mark as well. The events that have happened in his life previously (being sexually abused by his step dad) has lead him to the fact that is all he knows, he doesn't know any different so he expects everything to be the same and doesn't want anything else. That is my personal opinion of him anyway. He is very convincing towards Mark especially and leads the reader to think Gary likes Mark and then throws it back in Mark's face when he tells Gary he loves him.

Brian: I am not really sure what my thoughts of Brian's character is. One minute he can be really emotional and cry a lot...but he can also come across very intimidating, I usually feel oddly uncomfortable when I read scenes that he is in.

Research

Ella has already informed us that our contemporary piece could be from either Simon Stephens or Mark Ravenhill.

Simon Stephens:

Simon Stephens is an English Playwright. Born in Manchester, 6th February 1971. Having taught on the Young Writer's' programme as the Royal Court Theatre for many years, he is now an Artistic Associate at the Lyric Hammersmith. He is the inaugural Associate Playwright of of Steep Theatre company, Chicago, where two of his plays , Harper Regan and Motortown, had their U.S premieres. His writing is characterised as part of the in-yer-face generation and is widely performed not only in the UK but also throughout Europe, with several of his plays being premiered abroad. Along with Dennis Kelly, he is one of the most performed English- language in Germany.

He graduated from University of York with a degree in History. He was a teacher for a few years, he eventually stopped and became a professional playwright.

PLAYS:

• The Cherry Orchard (2014) premiering at the Young Vic, directed by Katie Mitchell
• Carmen Distruption (2014) premiering at Deutsches Schauspielhaus, directed by Sebastian Nübling^[2]
• Blindsided (2014) premiered at the Royal Exchange Theatre, directed by Sarah Frankcom^[3]
• Birdland (2014) premiered at the Royal Court Theatre, directed by Carrie Cracknell^[4]
• London (2012) incorporating Sea Wall and T5 premiered at Salisbury Playhouse, directed by George Perrin^[5]
• Morning (2012) premiered at the Traverse Theatre, directed by Sean Holmes^[6]
• The Curious Incident of the Dog in the Night-Time (2012) premiered at the National Theatre, directed by Marianne Elliott, adapted from the Mark Haddon novel of the same name^[7]
• A Doll's House (2012) premiered at the Young Vic, directed by Carrie Cracknell^[8] American premiere at Brooklyn Academy of Music (2014)^[9]
• Three Kingdoms (2011) premiered at Theatre NO99 in Tallinn, Estonia, directed by Sebastian Nübling,^[10] English premiere at the Lyric Hammersmith (2012)^[11] | German premiere at the Munich Kammerspiele (2011)
• I Am The Wind (2011) translation of the Jon Fosse play premiered at the Young Vic, directed by Patrice Chéreau^[12]
• Wastwater (2011) premiered at the Royal Court Theatre, directed by Katie Mitchell^[13]
• The Trial of Ubu (2010) premiered at the Toneelgroep in Amsterdam, (2012) English premiere at the Hampstead Theatre, directed by Katie Mitchell^[14]
• T5 (2010) premiered at DryWrite at the Roundhouse, directed by Vicky Jones, and further developed at the Traverse Theatre as part of Traverse Live!, directed by Dominic Hill^[15]
• A Thousand Stars Explode in the Sky (2010) written with David Eldridge and Robert Holman premiered at the Lyric Hammersmith, directed by Sean Holmes^[16]
• Marine Parade (2010) with music by Mark Eitzel premiered at the Brighton Festival directed by Jo McInnes^[17]
• Punk Rock (2009) premiered at the Royal Exchange Theatre, directed by Sarah Frankcom^[18]
• Canopy of Stars (2008) premiered at the Tricycle Theatre as part of the 'Great Game' series
• Sea Wall (2008) premiered in the Broken Space Season at Bush Theatre, directed by George Perrin^[19]
• Pornography (2007) premiered at the Traverse Theatre directed by Sean Holmes^[20]
• Harper Regan (2007) premiered at the National Theatre, directed by Marianne Elliott^[21]
• Motortown (2006) premiered at the Royal Court Theatre, directed by Ramin Gray^[22]
• On the Shore of the Wide World (2005) premiered at the Royal Exchange Theatre, directed by Sarah Frankcom^[23]
• Country Music (2004) premiered at the Royal Court Theatre, directed by Gordon Anderson^[24]
• Christmas (2004) premiered at the Bush Theatre, directed by Joanne McInnes^[25]
• One Minute (2003) premiered at the ATC, directed by Gordon Anderson^[26]
• Port (2002) premiered at the Royal Exchange, directed by Marianne Elliott^[27]
• Herons (2001) premiered at the Royal Court Theatre, directed by Simon Usher^[28]
• Bluebird (1998) premiered at the Royal Court Theatre, directed by Gordon Anderson^[29]
• Bring Me Sunshine (1997) premiered at the Edinburgh Festival

AWARDS:

• The Curious Incident of the Dog in the Night-Time won the Olivier Award for Best New Play 2013 and the 2015 Tony Award for Best Play.
• Punk Rock was nominated at the TMA Awards for Best New Play in 2010, and was also nominated for the Evening Standard Award for Best New Play in 2010
• Pornography won the Critics' Awards for Theatre in Scotland for Best New Play in 2008
• On the Shore of The Wide World won the Olivier Award for Best New Play in 2005
• One Minute won at the Tron Theatre Awards as Best New Play in 2003
• Port won the Pearson Award for Best New Play in 2001

Mark Ravenhill:

Born 7th June 1966, an English Playwright, actor, and a journalist. His plays include 'Shopping and Fucking' (first performed 1996), 'Some explicit polaroids' (1999), and 'Mother Clap's Molly House' (2001). He made his acting debut in his monologue 'Product', at the 2005 Edinburgh Festival Fringe. He often writes for the arts section of 'The Guardian'. He is an Associate Director of London's Little Opera House at 'The King's Head Theatre'.

He had an interest in theatre in early life. He put on plays with his brother aged eight and seven, respectively. He studied English and Drama at Bristol University from 1984 - 1987 and held down jobs as a freelance director, workshop leader and drama teacher. 

In 1997 he became the literary director of a new writing company, 'Pains Plough'. In 2003, when Nicholas Hytner took over as Artistic Director of the National Theatre, Ravenhill was brought in as part of his advisory team. 

'Shopping and Fucking' , 'Handbag' , and 'Some Explicit Polaroids' may be characterised as trying to represent contemporary British society.

PLAYS:

• Fist (1995)
• Shopping and Fucking (1996)
• Faust Is Dead (1997)
• Sleeping Around (1998)
• Handbag (1998)
• Some Explicit Polaroids (1999)
• Mother Clap's Molly House (2000)
• Feed Me (Radio Play) (2000)
• Totally Over You (2003)
• Education (2004)
• Citizenship (2005)
• Product (2005)
• The Cut (2006)
• Pool (No Water) (2006)
• Ravenhill For Breakfast (2007)
• Scenes From Family Life (2007)
• Shoot/Get Treasure/Repeat (2008)
• Over There (2009)
• The Experiment (2009)
• Ten Plagues - A Song Cycle (2011)
• Candide (2013)