Final assessment

Contemporary Mono

Classical Mono

Contrasting Mono

Chris Thorpe

I thought as I am performing one of Chris Thorpe's plays I should look up some information about him. So I read through this article I found on this website - 

http://www.unlimited.org.uk/about/chris-thorpe/ 

Chris is a writer and performer from Manchester.

Chris is a founder member and a core artist with Unlimited, collaborating on all but two productions. He is also an artistic associate of Third Angel. As a solo performer, he is making a cycle of solo pieces called Eating Wasps and continues to collaborate with companies like Slung Low, Forest Fringe (for whom he curated part of their season at The Gate in 2012) RashDash and Soup Collective, with whom he wrote and recorded the piece The Bomb On Mutannabbi Street Is Still Exploding, which has been permanently installed at the Imperial War Museum North. Chris’s plays have been produced worldwide and he has toured with Unlimited and Third Angel in Europe, Africa, Asia and the USA.

Recent non Unlimited projects include Overdrama for Portuguese company mala voadora, which opened at Culturgest Lisbon, in July 2012, two new plays for BBC Radio, the first of which, Rio Story, which was a Radio 4 Friday night play in 2012, and a modern version of Robin Hood in verse for the NSDF Ensemble/Latitude Festival. He is currently developing new work with Unlimited and Third Angel, and is touring in Third Angel’s show What I Heard About The World into 2013 when the show will be touring Poland and Brazil. His play, House/Garden opened at the Centro Culturel do Belem in Lisbon in 2012 and is currently touring to Europe. Dead End, his next show for mala voadora was written for European Capital Of Culture in Guimaraes and then ran in Lisbon.

He worked with poet Hannah Jane Walker in 2010 to make her solo show This Is Just To Say. Hannah and Chris then worked together again to create The Oh Fuck Moment, which won a Fringe First at Edinburgh Fringe 2011 and will be touring sporadically over the next couple of years. Chris is developing a new piece at the West Yorkshire Playhouse with Belarus Free Theatre, who he worked with on the English version of their recent show Minsk 2011. He also plays guitar in Lucy Ellinson’s political extreme noise project TORYCORE.

Right now Chris is making a new show, I Wish I Was Lonely with Hannah Jane Walker, writing a commission for The Unicorn Theatre in London, and has just finished a commission for the Royal Exchange in Manchester, (There Has Possibly) Been An Incident, which opens at Latitude/Edinburgh 2013 and then tours after a run in Manchester. He’s also working on a new solo piece, Confirmation, with Warwick Arts Centre and Rachel Chavkin of the US company TEAM. He is proud to be a selector for the National Student Drama Festival, which is a brilliant organisation.

Monologue – Contemporary and Contrasting **

Monologue – Contemporary and Contrasting

BLOOD

Synopsis - 

Caneze meets Sully in the college canteen. The heat rises over triple chilli sauce in Nando's. She makes her move in the sweet smoke of a shisha bar. A touchpaper is lit. . .but neither of them bargained on the lengths to which her brother would go to keep them apart. Blood is a searing and heartfelt new play by the writer of Tamasha's Sweet Cider. Set among a Midlands Pakistani community, Blood is sparky, funny and heart-wrenchingly honest. A timely and contemporary story, this play cuts through political agendas and goes straight to the heart. It lets us into a world governed by links to family and clan, as much as fiercely individual wants and desires

*pic of annotated play* - pictures failed to upload will keep trying

Pros  - I like the play because it has a funny modern day element to it and it is about the things that two teens would do on a daily basis. It would be a good contrasting play as my contemporary play is more serious. I think it will be able to show different skills that I may have and how I can be versatile between completely different characters.

Cons – I do not feel as though this particular play is strong enough and will have an effect on the audience. I have noticed that I will need to analyse the monologue more thoroughly to get the impacting monologue that I need. It is also quite hard to make the text fit together as its not one full monologue it’s the paragraphs put together

CONFIRMATION

Synopsis - 

You're open-minded, aren't you? You're always willing to see someone else's point of view? Of course, you are. You always make decisions about what you believe based on hard evidence. Naturally. Or maybe not. 

Writer-performer Chris Thorpe and director Rachel Chavkin challenge the idea that we can really see the world through someone else's eyes, suggesting that even when we're presented with facts and information we tend to latch on to those that confirm beliefs we already have.

What's fascinating is how Thorpe and Chavkin put it to the test in an 80-minute show that makes the brain both hurt and buzz – and which struggles and then finds a theatrical form to explore whether it's possible to have an "honourable dialogue" with people we fundamentally disagree with. In the case of the liberal Thorpe, this means going to meet Jonathan Haidt, author of The Righteous Mind, a book about confirmation bias, and having conversations with a white supremacist and Holocaust denier.

It is challenging and sometimes electrifying stuff that cleverly puts questions and statements into the audience's mouths. And it sets itself up in an arena-style square space that hints of both a democratic forum but also a confrontational boxing ring. Confirmation is a show that lets nobody off the hook: not us, and definitely not Thorpe.

Initially, it all feels like a glorified, extended TED talk: it has entertaining number games that prove we look for evidence that confirms self-created rules, and song lyrics are invoked to demonstrate how they can be interpreted differently depending on your point of view. It's intriguing, but a tad dry. Gradually, however, as Thorpe starts to recreate the conversations he had with the bloke he calls Glen, a man of conviction and extremist beliefs, the show becomes dramatically charged.

Amid so much theatre that simply confirms its audience's liberal sympathies, Confirmation is that rare and valuable thing: a piece that makes you alert to your own selective use of evidence and doesn't slide into a fuzzy let's-all-listen-to-and-understand-each-other-better sentiment. Instead, Thorpe challenges himself and us to be aware of our own bias and retain our passion and certainty, while ensuring that it is under-pinned with real evidence.

*annotated pics of script* - pictures failed to upload will keep trying.

Pros – This play was performed very well when we went to go and watch it at Cambridge Junction Theatre there was one particular monologue within the piece that I took a particular interest in it was done so well that it made me want to give it a go also. I think it is a strong monologue as it has a strong message.

Cons – there are not very many cons, however I do think there could be a chance of acting it too over the top which is something I do not want to end up doing in the final piece but that does come with practice.



Choices 

These two monologues are my finalised choices in what I want to perform on the audition day for the unit. I feel they are very contrasted as one of them is humorous and the other quite strong and serious. The 'Conformation' monologue can show my skills as I need a very pronounced tone of voice to make sure the point of the monologue comes across whilst I perform it. I think it can show my stage presence in a positive light as I feel a very dominant stage presence is whats needed within this speech. Whereas when performing the 'Blood' monologue the whole scenario changes as its a more light hearted piece. It also shows the versatility within the script as I would have to imitate another character in the play in the monologue. They are both very unique plays and I have never heard of them being used before in an audition as they are fairly new releases.

Shakespeare Monologue – Measure for Measure

Shakespeare Monologue – Measure for Measure

I have already analysed my monologue and found out some of the words that I didn’t understand…

*Condemnation – The expression of very strong disapproval

*Prompture –Urging, excitement

*Abhorr’d – Regard with disgust and hatred

*Chaste – Not having experienced sexual intercourse

*Chasitity – The state or practise of refrainging from having sexual intercourse.

This gave me a greater understanding of the text as a whole. As now I can read the words as if I were to use them in my everyday language and the text now makes snces when linking altogether.

I also had a quick read of the synopsis. I have already read the play but the synopsis has made it clearer for me.

Found on - http://www.sparknotes.com/shakespeare/measure/summary.html

 Shakespeare's Measure for Measure centers around the fate of Claudio, who is arrested by Lord Angelo, the temporary leader of Vienna. Angelo is left in charge by the Duke, who pretends to leave town but instead dresses as a friar to observe the goings-on in his absence. Angelo is strict, moralistic, and unwavering in his decision-making; he decides that there is too much freedom in Vienna and takes it upon himself to rid the city of brothels and unlawful sexual activity. Laws against these behaviors and institutions already exist, and Angelo simply decides to enforce them more strictly. Claudio is arrested for impregnating Juliet, his lover, before they were married. Although they were engaged and their sexual intercourse was consensual, Claudio is sentenced to death in order to serve as an example to the other Viennese citizens.

  

Isabella, Claudio's sister, is about to enter a nunnery when her brother is arrested. She is unfailingly virtuous, religious, and chaste. When she hears of her brother's arrest, she goes to Angelo to beg him for mercy. He refuses, but suggests that there might be some way to change his mind. When he propositions her, saying that he will let Claudio live if she agrees to have sexual intercourse with him, she is shocked and immediately refuses. Her brother agrees at first but then changes his mind. Isabella is left to contemplate a very important decision.

Isabella is, in a way, let off the hook when the Duke, dressed as a friar, intervenes. He tells her that Angelo's former lover, Mariana, was engaged to be married to him, but he abandoned her when she lost her dowry in a shipwreck. The Duke forms a plan by which Isabella will agree to have sex with the Angelo, but then Mariana will go in her place. The next morning, Angelo will pardon Claudio and be forced to marry Mariana according to the law.

Everything goes according to plan, except that Angelo does not pardon Claudio, fearing revenge. The provost and the Duke send him the head of a dead pirate, claiming that it belonged to Claudio, and Angelo believes that his orders were carried out. Isabella is told that her brother is dead, and that she should submit a complaint to the Duke, who is due to arrive shortly, accusing Angelo of immoral acts.

The Duke returns in his usual clothes, saying that he will hear all grievances immediately. Isabella tells her story, and the Duke pretends not to believe her. Eventually, the Duke reveals his dual identity, and everyone is forced to be honest. Angelo confesses to his misdeeds, Claudio is pardoned, and the Duke asks Isabella to marry him.

Annotated script -

Monologue Ideas

Monologue Ideas

I have two new Monologue Ideas which I have found to be quite strong. The plays are ‘Measure for Measure’, Isabella’s speech for my classical monologue and ‘The Colour of Justice’, Doreen Lawrence speech, which is a play by Richard Norton Taylor.

I have not yet performed my classical monologue in front of anyone yet but as for my contemporary ‘The Colour of Justice’ I was given this feedback after performing…

Monologue Feedback-

- The speech seems boring and it does not suit me to full potential.

- I have a strong solicitor voice, good for that sort of Monologue

- End result - need to search for new monologue

Christian Burgees

Christian Burgees

Christian is the Director of Drama at the Guildhall school of music and drama. He trained as an actor at guildhall himself. He has extensive professional acting experience in theatre, television and film. Burgess was made director of drama in September 2010 with the responsibilities for the acting and technical theatre programmes at Guildhall.

Some questions I could ask –

How long do audition pieces need to be?

Will I get feedback after the audition?

Can I perform a piece with an accent in my audition?

How much singing ability do I need?

Key points/notes taken from interview –

The most interesting thing that Christian stated in his interview was that he was looking for 

personality mostly in the audition not the acting. He would think how he would be able to work with the auditionee or if they would be something like hard work.

*Audition pieces shouldn’t be too long they have a lot to get though

*We have to not give too much away during the audition about how well you did or not well you did, but I’m sure if you emailed us we could get back to you.

*You can use accent if it is your regional accent or if you are at an expert level, if not then do refrain as it could be not as strong as your regular voice.

*We do not take too much into the audition of the singing that is not particularly what you are there to audition for, however, it gives us an idea of how your voice varies and what ability you are up to as we are here to teach you how to be stronger in the industry but you do not need to be an amazing singer. 

Handouts

We were given handouts to read through a chapter from an actors guide to getting work to what could affect our voice.

A lot of the voice caring notes I already know so I didn’t take to many notes on this.

Monologue Ideas and Acting

Monologue ideas and acting

Idea 1 – Cigarettes and Chocolate

The only reason I know this monologue is because I used it to audition to get into college. I found it a good monologue for me as I received good feedback form when I performed it previously.

The Speech

"When you stop speaking, it’s like stopping eating. The first day there’s something thrilling, and new, before the pain begins. The pain where you want to give up, where you can think of nothing else.

Then the second day, you feel wretched, the third delirious, and then suddenly there’s no appetite, it shrinks, it shrinks, until the prospect of speaking, the thought of words retching from the mouth, how ugly and gross it seems. 

Nothing changes.

How to stop people in their tracks, and make them think. Only if you’re starving, if it’s your son lying in your arms, or you think he might be in that discarded pile of mutilated bodies, or there’s no milk in your breast and the baby’s crying, or the radiation is leaking into your child’s lungs, or the lead or the nitrates or the, or the, or the and all the while skirts get longer, skirts get shorter, skirts get longer, skirts get shorter, poetry is written, the news is read, I buy a different butter at the store and have my hair permed, straightened, coloured, cut, lengthened, all the while my hair keeps growing, I throw away all my skirts, a black bag to Oxfam, lately I’ve been at Oxfam buying back my skirts, I’ve stripped the pine and painted the pine, pulled out the fireplaces and put them back in, I’m on the pill, I’m off the pill, I’m on the pill, I’m off the pill. I’m listening to jazz, swing, jazz, swing, I’m getting my posters framed. I’m telling my women’s group everything. I’m protesting. I’m protesting. I’ve covered my wall with postcards, with posters, with postcards, with posters. No this. Out them. In these. Yes those. No this. Out them. In these. Yes those. The rows. The rows with my friends, my lovers. What were they about? What did they change? The fact is, the facts are, nothing is changed. Nothing has been done. There is neither rhyme nor reason, just tears, tears, people’s pain, people’s rage, their aggression. And silence.

The silence. 

(A silence) 

beautiful last year it was cigarettes, the year before chocolate but this is the best"

***

One of our tutors told us recently that we should refrain from using scripts that we have performed before only because its better to learn more monologues as it shows in your auditions that you have more knowledge of a diverse set on monologues. However, I will keep this one in mind, so I have a monologue to fall back on which is what drama schools would want you to have anyway.

We were also given handouts recently for types of  facial expressions and tongue twister and songs. Some examples were –

Red leather, Yellow leather

She sits shining shoes, shining shoes she sits

Plain bun, plum bun, plain plum bun

Unique New York, New York unique

Songs –

This little light of mine

A baby sardine

Don’t build your house on the Sandyland,  etc

Here are some facial expression we tried out I also wrote some notes.

*1^st pic of sheet*

We would do all of these expressions one by one whilst saying the sentence “The fire exit must be kept clear. 

Handouts

We were given more handouts which I had analysed they are key words that if I know and understand, they will be useful for my monologues. The most important are the five keys. You should use all of these consistently throughout your monologue to make it a very hard hitting piece.