Thursday 4 December 2014

PAB - Slideshow, Presentation and Bibliography












































PRESENTATION: https://www.youtube.com/watch?v=2hZWYKfd6HI&feature=youtu.be





Bibliography:

 In post http://cstraker.blogspot.co.uk/2014/10/assignment-1-pab-drama-schools-unis.html:





Music Notes (2014):

In PAB Slideshow:

 Headshots Slide



Companies Slide



Funding Slide
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Cats Audition

My first round of the audition was singing. As my ballad song, I chose to sing Nobody's Side from Chess. In preparation for the audition, I rehearsed the song during the week, using a music practice room at college. As the accompaniment had to be piano only or otherwise acapella, Rachel helped me source a piano only backing track. This took some adjusting to because I had previously rehearsed with the original instrumental, which included orchestral instruments on top of the piano. By just singing with piano, my voice felt more exposed. This made me pick up on mistakes I was making, in terms of pitch, pace and sometimes key, which meant improvement in my vocals. On the day of the audition, I was pleased with how my ballad went. My timing was good and my variation in volume was well balanced. This reassured me that I had selected an appropriate song for the range of my voice, which I will always keep at the front of my mind for future auditions. Furthermore, I selected this song because Elaine Page has sung it - the actress who played Grizabella in Cats. This is a part I am very interested in. Next was my upbeat song, which was Gimme Gimme from Thoroughly Modern Millie. I sung this acapella, due to there not being a piano only instrumental. I preferably wanted to sing with an instrumental, which has made me set the target for myself to be more organised and buy sheet music beforehand. Originally, I had planned to perform 1 minute and a half of the song, however on the day I stopped very early on which is something I regret. I think this was because I was singing acapella and naturally left longer gaps between verses and the chorus. Although, 'Gimme Gimme' matches the theme of upbeat songs in Cats, it is strictly a jazz-style song. Cats soundtrack varies between music genres, so I felt like I could have chosen a song which was perhaps more in the pop genre, or to be more specific, an upbeat female song from Andrew Lloyd Webber's repertoire, such as Buenos Aires - Evita.

My Ballad
My Upbeat

 My second round of the audition was an interview. Rachel asked a lot of unexpected questions,  like 'What is the Cherkanah Straker method?' and 'Sell yourself to a West End casting director right now', however I did not act or become thrown off by the element of surprise. Although, I recognised that I need to speak more confidently in my response to a question I don't initially grasp. The interview was probably my weakest round of the audition process. Since I am applying to drama schools, which involves one-on-one interviews, this is an area I will strongly focus on, ensuring I have an answer for whatever I may be asked on the day.

 My Interview

 My final round of the audition was a dance solo, which I self-choreographed in and out of lesson time. My stimulus for the dance was Cats and jazz technique. To act on my stimulus, I watched the original film clips of Cats for inspiration, and took sequence of movements from it and also ones we were taught by Emily in class. To ensure I had good technique, I attended weekly jazz technique sessions. In these sessions I was able to improve on my leaps - getting my back leg straight - and also work on my flexibility. I hope to be able to do the splits at the end of term. Our task was to create a 2 minute solo. I found getting the first minute done easy, however because I didn't want to repeat lots of the same movement, I made the second half challenging to choreograph. A strength of my dance audition was my confidence and composure in performance and giving the energy it required - smiling throughout. A weakness of mine is that my eyes need to keep facing up and ahead. On the next dancing task, I need to pay more attention to my arms, and give them exact positions or movement. Watching back my solo, I noticed that my arms tend to fling about, making the rest of my movement look unpolished. Lastly, at the end of my solo I failed to hold an end position, which makes me want to work on my balance.

 My Dance Solo
Original Jellicle Ball - inspiration for my solo.
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Thursday 27 November 2014

Check list


Cherkanah Straker

 

Costume

  1. Upload pictures of each page in your Costume Portfolio, you should have;
    1. Character and text analysis
    2. Costume research – Period and social status
    3. Costume plot for THREE characters
    4. Written work about how no. 1 has contributed to no. 2
    5. Colours, fabric swatches and measurements
    6. Initial designs - Based on established period and social status
    7. Established designs with written work about practicalities, character portrayal, portrayal of mood/emotion

Drama

  1. Make sure all PAB work is uploaded to blog including slides, notes & presentation recordings
  2. Look at each show of Electra and how well you are doing identify strengths/ weaknesses and what you could do to improve for the next one.

 
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Monday 17 November 2014

Assignment 2 - Theatres Presentation

Presentation - Oldham Coliseum and Open Air Theatre

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Friday 14 November 2014

Assignment 1 - Sheet Music Links (Audition File)

Sheet Music For Auditions


Slow:
Sheet Music Sample - Easy To Be Hard
Sheet Music Sample - In L.A.


Upbeat:
Sheet Music Sample - I'm The Greatest Star
Sheet Music Sample - Out Tonight
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Wednesday 12 November 2014

Starting Cats Audition (Dance Solo)

We began the lesson by watching the jellicle ball clip from Cats, noting down what movements we saw:
  • Jazz leaps, kicks and turns
  • Floorwork
  • Circular hips
  • Extension in arms and legs
  • Ball changes
  • Head rolls
  • Animalistic movment - hands acting as cat claws, crawling like a cat.
  • In group formations, the dancing was mainly in unison.
I used the movements in the clip as inspiration when starting to choreograph my solo. My initial ideas for my Cats solo is to start on the floor, crouched down. I plan to come up 'prowling', and immitate the cat claws I saw in the Cats clip. After this, I am going to perform 2 posé turns, which was one of our corner work activities earlier on in the lesson. After the second turn, I wanted to fall quickly to the floor, with my front leg bent and the other behind and extended. I need to find a way to jump up and out of this position gracefully. I came up with this all in a short amount of time and am really excited to develop the ideas. I think I've decided to use the 'Jellicle Ball' music in my audition, as I found it easy and fun to improvise around. Next lesson, I am aiming to get at least 40 seconds of my solo complete. I wish to include kicks and leaps, and ensure that I take full advantage of the space in the dance studio. Due to other commitments - Electra, Bugsy Malone, Into The Woods, Remote - I am going to make a schduele, where set sessions will be dedicated to choreographing and rehearsing my Cats dance solo.

Clip: The Jellicle Ball - YouTube
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Monday 10 November 2014

Assignment 2 - Where You Find Work (cont.)

Make-up Artist

Job Description
The role of a make-up artist is to make sure that models, performers (people on stage, tv or even in magazines) have suitable make-up and hairstyles. The make-up artist applies it and will be the last person to look over it for any final touches, prior to the person going out to a live audience or appearing infront of cameras. The settings a make-up artist can be in are film, TV, theatre, live music and photographic shoots.

 The artist's make-up choices on the client, is their own interpretation of what the client has asked for. They produce a visual representation which is creative and technically accurate. For example, a TV presenter will wear fairly basic make-up. Whereas, the make-up would more complex for someone who wants to create special effects facially. A make-up artist's work consists of creating characters through make-up and hairstyles, using a brief they've been given from someone of senior management.


Typical work activities for a make-up artist are:
  • Communicating with clients to get the right look
  • Study of production
  • Reading scripts to confirm what materials and look is required
  • Budgeting
  • Conducting research when neccessary - if it was classical theatre, the make-up would be heavily white, and there should be no use of mascara or lipstick as they were products which didn't exist years ago. If modern day beauty products are used, it shouldn't be noticeable.
  • Wigs - making and taking care of
  • Producing and sketching ideas for make-up and hairstyles
  • Ensuring that the hair and make-up has continuity
  • Communicating with others in the design team, in order to achieve the overall effect
  •  Understanding the impact on skin (make-up) - lighting, photographic processes, colours
  • Taking appropriate action to reduce any unpleasant side effects, which would have occured from specialist hair and make-up techniques
  • Awareness of health and safety issues, e.g. using straighteners
  • Creating facial and body moulds - prosthetics
  • Keeping up to date with what products are available
  • Sourcing materials and equipment from 'specialist' suppliers 
  • Time management - knowing how long it exactly takes for the look to be complete
  • Maintaining a portfolio of work, by taking photographs of clients and having detailed notes of the processes they go through 
     
     
National Career Services 
The link above gave me the information on how to become a make-up artist and life as one: what qualifications/experience you need; preferable qualities and skills; training and development; income; working hours.

 
A career as a make-up artist normally starts by first gaining at least a Level 2 qualification in media make-up, or something of an equivalent. 

 
There are specific courses so that you can narrow down the make-up artist you want to become:
Level 2 Diploma in Hair, Photographic and Media Make-up
Level 2/3 Diploma in Hair and Media Make-up
Level 3 Diploma in Theatrical Special Effects, Hair and Media Make-up
Level 3 Diploma in Fashion, Theatre and Media Make-up

 
 
Universites can offer a foundation degree or a full degree in media make-up. To enrol, a person needs 5 GCSEs (A*-C), which have to include maths, English and science. Alongside this, they'll also need 3 A-Levels. In addition to academic grades, the site encourages people to get practical experience before advancing into a career. The experience will enable you to meet existing make-up artists in the industry and build a close network of contacts for the present and future. Experience can be gained through amateur theatre, student projects (fashion shows) and working with artists and photographers. Becoming a make-up artist is achievable in beginning in an apprenticeship. There are also 'short courses' in specialist and prosthetic make-up which is run at private academies, film schools and some universites.
 
National career services list preferable skills for the profession, which include:
  • Ability to work well in a team structure
  • Genuine commitment
  • An interest in current and historical fashions
  • Tactful manner 
  • Willing to work longer hours than scheduled/expected 
  • Punctuality
  • Reliability
  • Think and act creatively and imaginatively 
  • Take extra attention to detail  

The training to be a make-up artist usually comes in being an assistant to a highly experienced one. To get this role, there are training schemes which are offered by broadcasters, regional screen agencies and media training organisations. However, the competition for the training is very strong, and some broadcasters only hire at certain times of the year, for example the BBC.

 
 

The table above shows the recommende income for make-up artists - by the National Association of Screen Make-up Artists and Hairdressers.  Make-up artists typically work on a freelance basis, meaning they get paid a fee per contract.
 
In the list of skills, the site asks for partcipants to be prepared for working longer hours. This is because the job working hours are unpredictable a lot of the time, as it depends on the demands of the task. For instance, an artist will begin working very early morning before filming begins, if they're working for live morning television. Contrastingly, working late into the night is most likely the case when working in theatre or concerts. Due to the variation of hours, it is good for a make-up artist to have built up their own make-up kit which they can take with them to each different job. 

To find out about the life of a make-up artist, I looked at Karla Powell. She is an international make-up artist, recently working with Katie Price and Magnum for their 25th anniversary.
Karla is honest about the pros and cons of the job role. She says the advantages of being a make-up are that it is easy to take on the career, as it only takes 1-2 years of study and then you are able to start working in the industry. Another advantage is that being a make-up artist is exciting because it allows you to portray your creativity onto another person. Seeing the results of your work immediately is highly satisfying (when the client is happy.) Lastly, the job allows you to meet many new people and travel abroad. It is also a lot of fun working with celebrities.

On the other hand, the business is very competitive. Karla advises that if you want to remain on top you have to get yourself noticed by being really assertive and creative. Furthermore, there is no working schedule. If you begin to moan at clients due to your long hours, you could be seen as unprofessional and therefore not be hired again. It is difficult for there to be constant regular work which means you have to find something to do on those days, like networking. Through networking, you can show others your techniques on blogs and YouTube. By sharing your tutorials and tips, you are still serving clients and wanting to make them happy. 

Job Advertisements
 
NARS Cosmetics - Full-Time Make-up Artist
Beauty Consultant for Luxury Brand
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Wednesday 5 November 2014

Assignment 2 - Where You Find Work

Casting Director
This is the person who is in charge of making sure that every role in a production is played by the actor who is best for it. A lot of the time, the directors start by attaching well known actors to the production's lead roles. As soon as they're cast, open auditions are held to find the rest of the actors they need. This can range from a selected group of individuals or thousands across the country. Usually, the casting director will have the final decision on who is hired. However, they tend to use assistant casting agents to complete the task. This is because they already have a lot of responsibilities in the pre production.


 Becoming a Casting Director
This link helped me find out how to become a casting director, i.e. what qualification/experience it requires.


The first step is finding an internship. Most of them are unpaid, though some pay very little. The point of the internship is to learn everything you can about the industry and about being a casting director. It's not about making the money. To get an internship, you should send your CV and cover letters to places you believe are suitable to you. People who get an internship are those who follow up and pursue their desires. Often, internships aren't structured; one day you could be on an organisation task, and another day you could be assisting a casting director. The site advises that as an intern you observe everything going on around you, talk to everyone you come across and ask as many questions as possible - this is so you learn the business from the bottom and work towards the top. After your time as an intern, the experience you've gained allows you to be one step closer to becoming a casting director, by being an associate casting director. This role gives you more responsibility, like working on small projects alone, therefore shifting you into a more active job. A good casting director ensures an associate will be given enough independence so they can learn and grow, but not so much where they may feel overwhelmed. Completing time as an associate is the final stage, and after this you can become a casting director.

Confessions of a Casting Director
To gather more information, I found an online interview with Beth Schiff. She is a casting director and has casted for many TV series, like 'Chopped' and 'Cover Shot.' From the interview I learnt there is never a typical day for a director, but consists of 4 parts:

1) Outreach/Research - this is where they let people know who and what they're looking for.
2) Sorting/Scheduling - this is where they start deciding who they think is right for the role, i.e. who they wish to call and select for an interview.
3) Auditions/Interviews - auditions take place in a studio. Typically, each person gets 10 to 15 minutes, where they have the opportunity to show their personality, and also so the director knows what they look like on camera and how they read the script.
4) Follow-Up - booking the actors for the jobs.

I discovered what are the best and worst parts of the job, the expected pay, and how the recession has effected business. According to Beth, the best part of the job is the amount of different people she gets to meet and how she can afford them with an opportunity. She said that the worst part of the job is that their time is extremely limited, to conduct research and the actual interview/audition process. As a result of the recession, business has been slower, with budgets decreasing, meaning less money and time for casting. Additionally, technology is improving which means people can take videos on their phones and simply upload it and produce their own 'shows.' Beth believes that casting directors won't cease to exist, but that people are doing it, thinking they can do it alone. The expected pay for a casting director is around £188-£315 a day. Whereas, its is around £62-£94 a day for their assistants. She makes it clear that each project and budget varies, and also how commercials usually have the highest budgets.

Lastly, Beth gave advice to those aspiring to follow the casting director path. She stresses that great communication and administrative skills are important. If you want to go down this path, you will also need to be fairly creative and be able to 'think on your feet.' Being a casting director, you need to be highly organised, diplomatic, confident with technology and keep up to date with the latest in TV, film and the internet.


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Wednesday 22 October 2014

Greek Theatre

There are 3 types of Greek theatre: comedy, tragedy and satire. Electra is a Greek Tragedy. A convention of a greek tragedy is a character who is a flawed hero. A film example of a flawed hero is Jay Gatsby, although you love him, you are reminded of how corrrupt he truly is. 

The plays were based on ancient, classical myths. Greek theatre was performed in a colessium/arena - in open air. The Theatre of Dionysus in Athens was able to hold more than 17,000, which tells us that the Greek theatres were quite large. Due to the largeness, the audience would stretch so far back that actors would use masks with exaggerated emotions. Despite being outside, the acoustics in the theatre were fantastic; the performers could be heard clearly by everyone, wherever they were sat.

The layout of Greek theatres
The theatre was shaped like a horseshoe, and had rows which rose upwards and backwards in tiers. The first row consisted of stone thrones, who were strictly for respectable citizens and Dionysus' priest.
1) Orchestra - the modern word for this section is the 'pit'. It was the dancing place of chorus. Musical accompaniment, e.g. a flute player, would sit in the corner.

2) Stage - also known as proscenium. This is where the most of the play's action took place. Actors sometimes would move to the orchestra, or the roof of the skene.

3) Paradoi - these were the wings, which were both sides of the stage, after the seating stopped. The chorus would come marching through and in.

4) Altar - to Dionysus, where sacrifices were made. It was sometimes used as a stage prop.

5) Skene - the modern word for this is 'scene'. It was a wooden structure. It was a dressing room for actors, with its facade being used to resemble a place, acting as the backdrop for a play. It had 3 doors, which were used for entrances and exits.

6) Theatron (seating) - where the audience watched the show. It was U-shaped.

There were few items of technical equipment, which were available to creat special effects on stage. There was equipment which could immitate lightning and the sound of thunder. The ekkyklema was a wheeled platform which came in and out of the skene, revealing actions that was taking place indoors.

In this time period, casts were only made up of males, which meant men had to play all the roles. With maks, they could play male, female, old, young. The actors would wear elaborate formal costumes. As well as having the ability to act, the men had to be good singers. Most of the acting was conventional and stylised, not having a naturalistic element.
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Mask - Audition Workshop

My 'Electra' Synopsis
Electra is a play about a woman who despises her mother and stepfather, as they both contributed to the killing of her father. She hopes for her brother to return, as her sister doesn't completely side with her. However, she is told that her brother is dead - a plot planned by the brother and Old Man. Electra and Orestes are reunited, and take revenge on the parents, murdering them both.

Mask Rules
1) Puttting it on and off in private - provides the mystery element. As soon as the mask is on, you are immediately in character.
2) Treat it like a real face.
3) Face forwards as much as possible.
4) Treat it with respect.
5) Don't touch your mask face when it's on.

Workshop
At the start of the workshop we created a character in our minds. I was shy, with a sense of paranoia, and therefore didn't enjoy crowds, so being surrounded by more than a few people (our whole class) built a lot of tension in my character. It led to me travelling the room in a stiff manner. I was overly upright and fiddled with my hands, sometimes twitching when someone would come close to approaching me.

We did an exercise which explored status. Everyone entered the space one by one and put themselves in a position that represented their character, I began the exercise and knelt to the floor with my head hidden into my hands. Next, Rachel gave us the instruction - if tapped you had to stand next to people who you thought were familiar to your mask (character.) I was tapped and chose to stand next to Sophie. The emotion of my mask was quite neutral, with a straight lip. Sophie's mask had a small open mouth, with its eyebrows raised, which presented a fearful expression. Although she wasn't on the floor, the use of her hands suggested she was low status like myself. Sad (negative) masks seemed to bring the actors inwards, which I certainly felt, and gave us a low status. I think it was easier to find someone to match with if it was a mask with more of an extreme emotion, for example the angry masks were clear and ended up all together at the end of the exercise. They had a high and powerful status. 

After the starter exercises with masks, we were given the scene between Electra and Orestes. The story of the scene was Electra is carrying her brother's ashses in an urn, and is on her way to distrubute them. Along comes Orestes, who unaware to Electra is her brother, he insists that Electra knows him, however she is so distraught that she fails to think straight for a while. The scene ends on her realisation of Orestes is telling the truth, and is her long-lost brother, who she believed to be dead.

We read it as a group first and then did the following: modernised it, translated it as a soap scene, mime without and then with masks.

Modernising the scene was challenging because the language is difficult to get to grip with anyway, obviously a lot of the words aren't used today, so finding substitutes for the words was fairly difficult. Performing it as a soap scene was one of my favourite readings, this is because we got to perform it overly intense, putting in dramatic pauses for effect. I also liked it this way because we got to speak in the way we would in day-to-day life. In the miming tasks, I found it hard to restrain myself from using my mouth at all. It's also hard to make miming look slick and professional, because as an actor it is funny to perform as everything is incredibly overexaggerated. For example, me and Sophie had a prelonged moment of shock and excitement facing eachother, before hugging. Miming with and without masks was very different. Once under the mask, you are reliant on just your body parts expressing your emotions. Despite my face being hidden, I found myself using my face, still acting behind the mask, which really helped me to stay in character. I hope in the future I can perform with a mask without moving my face underneath.

I played Electra and moved around the space a lot in every task as I was headstrong to get away from this 'stranger' and just be left to mourn alone. I was very snappy in telling Orestes to leave and also through my actions, for example in the miming with masks, I stomped my foot on the ground and threatened to hit Orestes, to effectively show my anger.

At the end of the lesson, I felt a lot more confident with the mask and had a better understanding of Electra.

Mask Workshop Videos: https://www.youtube.com/watch?v=EYvB71quMe4

https://www.youtube.com/watch?v=1kMrWScdhOA

https://www.youtube.com/watch?v=YwyzF8gifB4

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Stimulus' and Structures

There are 5 different types of stimulus, which are visual, tactile, auditory, ideational and kinaesthetic. Examples of a visual stimulus are photos, videos or paintings - something you can see. A tactile stimulus is something you can feel, i.e. cotton wool, sandpaper. An auditory stimulus is something you can hear, this would typically be music or some sort of beat. Ideational stimulus is based on an idea/theme, like the Holocaust, 9/11. Finally, a kinaesthetic stimulus is through movement itself.

Key Word: Climax
^ Most dramatic point (highlight) in dance.

Next, we learnt about compositional structures, which is the way of forming art and giving a dance piece a structure. The structures we learnt about were binary, chance, narrative/episodic, rondo, ternary and theme and variation.

Binary (AB) - This is one of the more simplistic structures. It is like a verse and chorus of a song. A and B need a transition or link.

Chance - Movements are chosen randomly, or movement is randomly structured, creating a sequence.

Narrative/Episodic - This structure follows a story line. It helps the story unfold and each section acts as a further exposure of the ideas and story line. The choreographer will need to take into consideration how to link the sections together, i.e. what transitions?

Rondo (ABACADAE) - This structure is an extension of Binary (AB), where the idea/mofit of A keeps returning.

Ternary (ABA) - The beginning and end will be the same, whilst B (the middle) is a contrast to it, like chorus verse chorus.

Theme and Variation (A1, A2, A3, A4) - This is the structure where there's continuous variation on a motif. The motif doesn't become something completely new but choreographic devices like dynamics, mood, space are used to change it slightly.


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Blocking Electra (Act 1)

The chorus will start the show by roming through the audience, singing 'Lamb's Glory Box' directly to faces of the audience.

'Just...Give me a reason to love you
Give me a reason to be a woman
I just wanna be a woman'

The lyrics of the song show Electra's desire to be a woman, which is significant because nor her or her sister can have children, due to their stepfather. This song essentially tells the audience there is a female figure who desparately wants her freedom.

At the end of song, Electra approaches the chorus who are downstage centre. The chorus bring Electra down to the floor with them. Together, we sit together in a semi-circle.The action is performed as if it's in slow motion; we whisper and joke.

In the opening dialogue between Old Man and Orestes, the chorus act as protectors for Electra - distracting her from what is going on behind her. Electra shouts 'Woe for my hapless lot!' - this leads us (chorus) to taming her, such as placing a comforting hand on the shoulder and instructing her to quiet down.

On Electra's first speech, starting 'O purest light', the chorus will be doing a shoal of fish. The shoal of fish needs to be in rhythm with the dialogue, which Electra will join and re-join throughout. After this speech comes to an end, we flood around Electra. My line is 'Most impiously was quelled long years ago? Perish the cause! If I may lawfully pray so' - my character is reflecting and justifying Electra's feelings and actions. Electra responds to the friends well, making contact with us, holding our hands. We comfort Electra further, performing it again in a shoal of fish, which ends on the line 'To this land with happy omen brought?' After that, the 'Friends' cicrle Electra, delivering our individual lines whilst doing so. When Electra begins to speak once again, the Friends are at Electra's feet, and go on to gossip to one another. I start the next Friends section ('Take thought to keep thy crying within bound...') and follow wherever Electra goes. After my dialogue is over, I will sit down with the other friends and push the next Friend up to go do the same as I have done.

Electra and the Friends remain sat down together for a while, until Electra becomes angry, and aims certain lines at each one of us. This leads her to stand above us, and so we intently watch her. Suddenly, the mood becomes quite optimistic for the next lot of lines. Chrysothemis (played by 2 people) enters, and the four Friends hide away in separate corners of the stage. The next time we talk is in a loud whisper in unison, kneeling up to Electra and hiding again afterwards. We come out of our corners, running up and between Electra and the Sisters, acting as a metaphorical wall. Sisters exit, and the Friends pair up; Ellie and Lauren (listener and nurturing) hug Electra, whilst Me and Sax patrol the stage. We spy Clytemnestra, and get the attention of the other friends by clapping and miming. During Electra and her Mother's conversation, the Friends scuttily move to steps - upstage centre. Electra verbally attacks her Mother, and I as the vengeful friend am proud.

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Friday 17 October 2014

Down and Out Research

The 5 stages:
1) Stimulus - You research this, to decide on the type of dance you're going to be performing, and how it's going to be presented.
2) Improvisation.
3) Select + Refine - to decide and finalise on appropriate material.
4) Create a motif.
5) Motif development - Kat gave us a sheet which gave us 16 ways (choreographic devices) so we can achieve this.

Choreographic devices:
1) Repetition
2) Retrograde - movement performed backwards.
3) Inversion
4) Size, Tempo, Rhythm
5) Quality and Force
6) Background - change the design of the rest of your body, and perform the motif like this.
7) Staging
8) Embellishment (ornamentation)
9) Change of planes/levels - make the motif horizontal or vertical.
10) Additive/Incorporative
11) Fragmentation - using only a part of the motif.
12) Combination

I decided to choreograph for Bugsy Malone. Me and others are choreographing the song 'Down and Out.' Firstly, we had to do some research. I knew Bugsy was based in the 1920s era, which immediately made me link it to The Great Gatsby, so I watched the dance sections within the film, hoping to find some inspiration. I noticed that arms and legs performed sharp movements, and the dancing was mostly performed in duets. Afterwards, I watched other performances of Bugsy Malone, whilst doing this, I had to keep in mind that our version of the show wasn't going to be performed proscenium; the audience will be dotted around the stage, sat at their own tables. A clip that was particularly helpful was the film's version of 'Down and Out' - http://www.youtube.com/watch?v=fBdat4QeEr8

What I took from the film clip was that the style was very much like Oliver! The Musical. I took notes of props used, which were mainly plates and cutlery. There were marching sequences, which added a military slickness to the piece. Majority of the song is performed in unison. One thing that I really liked and would like to include in our version is the tap section.This is because it adds to the military feel, and is something which isn't seen in every musical.

Overall, the choreography I've watched is repetitive, involves a lot of stamping, short and static momvent, and is quite rhythmic. This song contrasts to the rest of the show, which is very glitz and glam.

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Assignment 1 - Other Work Opportunities

3 JOBS:
1) Disney Princess - Application Process

To apply for a position with any Walt Disney Company, I need to start at DisneyCareers.com and choose my position of interest. I need to create a profile which includes an application to fill out, and then I can upload my CV. After applying online, I will receive a confirmation acknowledgement email, this is so I know my application has gone through, and I can also review it. Hearing back can be immediate or up to a couple weeks, it will depend on the volume of applicants. The company would've decided if your skills and experience match the role.  

 If successful, I will have an interview. It is most common to expect one phone interview and two in-person interviews per position.

 My letter of application to Disney would be:

 Dear Employer,

 I am writing to you to apply for the role as a cast member (Disney Princess) at your theme park. My name is Cherkanah Straker, I'm 17 years of age, and bi-racial. Being bi-racial, I understand my Princess roles are most suited to characters like Pocahontas, Jasmine or Mulan.

I've loved Disney since I can remember, what person hasn't? But as a performer, I see this as a real opportunity and a possible dream come true. I am great with children, being an auntie to many young nieces and nephews, and a loving big sister to a 2 year old.

I am musically talented, which is what Disney reflects in their park parades, and of course, the films. My peers would describe me as a confident and approachable, which are two characteristics I believe you must have for a role like this one.

I have been to Disneyland Paris, and always wanted to go back. Perhaps, making it my temporary home is the perfect way to do so.

Thank you for your time, and I hope to hear from you soon.


Yours Faithfully,



Cherkanah Straker


2) Front of House

West End Wendy's F.O.H Commandments - I found this blog very useful for what I should put in my Front of House application letter. The 'commandments' she listed are qualities I have, which I need to sell to the Employer.

My application letter to a Front of House job would be:

Dear Employer,

Further to your advertisement in the Daily Mail, I would like to apply for the front of house position at your theatre. I have many years of experience in the theatre, having started performing at the age of 6. I am familiar with how you must behave in a theatre and familiar with the ins and outs (backstage) of a building.
I achieved an A in my Primary Tap Exam, 4 Distinction* in Performing Arts at high school, and am currently completing a Musical Theatre Diploma, with a Distinction* achieved in the first year. As well as having knowledge about the basics of the theatre, I also have experience with some of the technology, such as mics - how and where to put them on the actor.
I understand that a Front of House role also requires customer service skills. I gained a lot of experience in customer service at Papa Johns, where I took payments in person and over the phone, greeted customers and dealt with any complaints. I handled all these situations very professionally, and built a good relationship with many of the frequent Papa Johns customers. Customers have said I am polite, helpful and friendly.

Thank you for your time, and I hope to hear from you soon.


Yours Faithfully,



Cherkanah Straker



3) Stageschool Helper

For several years, I went to Italia Conti in Hove. This led me to enquiring if they had any positions going there, so I have chosen to email the manager.
My letter/email of application to a Stageschool Helper job would be:
Dear Linda,
It is Cherkanah Straker, former Saturday school student. I am currently looking for a job in the performing arts, that would work alongside my regular auditioning.Therefore, I am writing to you today to see if there any positions of work for me, at Hove or Clapham.
In my time at Contis, I learnt a lot about myself and progressively became a much stronger performer. On many occasions, I had the responsibility of looking after the younger years, both on and off stage, which is something I really enjoyed. I developed a strong relationship with all my teachers, and would love to work with them in a team setting. I believe there is still so much more for me to learn and gain.

I would love to give back to the stageschool that provided me with so much.
Thank you for your time, and I hope to hear from you soon.
Kindest Regards,
Cherkanah Straker
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Watching Electra

Personal notes
Electra was set up in-the-round. The characters switched positions which was effective for this stage format. The set was grey, and very minimalistic. The set had quite a few nature elements to it - a tall tree trunk, a fire place, stones and dust. 
The opening was sudden, with little lighting. This created an eerie atmosphere. It was a scene between Orestes and The Old Man, who plot the plan of faking Orestes' death. I noticed that Orestes used his hands a lot, like pointing sharply and gesturing his hands during conversation, in order to express himself and sometimes emphasise the point he's making.

Electra enters, doing a lot of movement in silence, prior to the dialogue. Majority of the time she remains on the floor, which represents how low (weak) she's feeling, because of her father's death. We learn quickly that Electra is a very honest and open character. How weak she is feeling is so clear, creating sympathy amongst the audience.


Next, we meet the chorus - 3 virgins of the palace. They are dressed mainly in navy, and appear much slicker and cleaner than Electra, who is scruffy and in a washed-out raggy dress, wearing no shoes. At first, the chorus are stood over Electra, which suggests they're stronger emotionally, and thinking more rationally than Electra. Throughout the show, these 3 act as the onlookers.

Electra's sister - Chrysothemis - presents another contrast between Electra and another character. The contrast is physically presented through costume and hair. Electra's sister is in clothes that suggest wealth, as she wears a clean dress with gold detail, jewellery and shoes. The inclusion of gold makes her also appear quite regal. 


The lighting gets brighter when things begin to look up for Electra - when her sister agrees to the plan. Whereas, when there is praying to Apollo, the light becomes a lot darker, creating a much more serious mood.

Electra's mother comes across as a wicked-like character, who shows no remourse. On the other hand, we see this wicked woman slightly descend when she hears news of Orestes' death. The death reignites the tension between Electra and her mother.

Throughout the play, serious moments tend to come across comical. Kristen Scott Thomas' hystericalness was highly believable. Something about the serious moments I didn't like was that the actor was never alone on stage. For example, Electra's speech when first attaining her brother's ashes, with the 3 virgins and her brother on the edges. I think this moment needed to be performed as a solilioquy, so there was more of a personal moment between actor and audience.

The scene between Electra and Orestes, which we performed in our first audition workshop was similar to the way many of us interpreted it - particularly the hug they share, which came across as heartwarming, and the first real moment of happiness in show. In this version, the language was modernised and there were more comedic incidents, like the dropping of the brother's ashes and Electra's realisation, making her want to sniff Orestes.

At the end of the play, there was no visual of the murder committed, only sounds (screams) and the aftermath. The aftermath was reflected with Orestes and the Old Man's bloody hands. Also, the body was carried onstage hidden in a blanket, and only a fraction of the mother's corpse was shown, which was deadly and pale.


Class recap
  • The door in Electra acted as the traditional 'skene' in Greek Theatre.
  • The floor was sandy, which represented Greece's weather.
  • Whilst it was a modern theatre in which they employed theatrical lighting, they attempted to replicate everyday external light states - natural.
  • All of the play was based outside.
  • No use of song and dance. The inclusion of song and dance is a tradition in Greek Theatre, so an absence of this was odd.
  • Electra (actress) and Mum were near enough the same age - weird casting choice.
  • Time passing was unclear.
  • 'If someone hurts your Father, the son will grow up and evenge' - this was a belief by Greek society, hence why it was all down to Orestes. A modern day version of this belief is the Mafia and their ways.
  • The stepdad spoke in stacatto, which juxtaposed to all of the other characters. He is high status. He came across as weird and awkward, like the King in Medea. His costume was slightly pantomime, and not appropriate in my opinion.

Things I'd change

1) More solilioquys
2) Different male costumes - more in line with the females.
3) Tension heightened for death scene
4) Age casting
5) More of the chorus
6) Orestes needs to be more determined.
7) Paced better - the ending was too quick.
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