Monday
After creating the Ismene tumbril sequence in the past couple of weeks, we noticed that there were some changes that need to be made. We found that Ismene had to pause at certain points so that her lines corresponded with the actions and movements that were being made by the chorus members such as the line that references the guards and the line that tries to explain the consequences of Antigone's actions if she continues to have the need to bury her brother. Having these pauses caused there to be dead spots which meant that the tension in the atmosphere was broken and so we came up with a solution.
We decided that throughout the speech, the chorus members involved in the mechanisms of the lift could whisper lines about the brother because we thought that this could reflect the angry mob that Ismene refers to in the speech. We tried the full sequence 2 times; one without whispers and one with.
Without whispers: https://youtu.be/G3heO5UAauE
With whispers: https://youtu.be/pS4zczmro3Y
I think that the whispers one works better as the atmosphere grows with the speech and also, a small improvement could be that when there is a dead spot certain words from the chorus could be pronunciated more so that there are certain words that stand out whilst Ismene isn't talking but when she is the words quieted down and become only slightly audible.
Wednesday
We used the start of Wednesday's lesson to go over the Haemon scene and one of the lines that we all found quite intriguing was "I'm dark and thin. Ismene is pink and gold like an apricot." We all thought that this was Antigone's way of telling Haemon to go and be with Ismene because Ismene is the one who is going to live and be alive once Antigone has gone. We thought that it was her way of selling Ismene to Haemon and trying to convince him that Ismene would have been a better choice than her and there is still a chance that they could be together.
Once we had run trough separate scenes, we did a full run through which brought up some changes that needed to be made. First of all, I need to be louder in the scene with Nan so that my voice is projecting out to the audience and also we fixed the staging when Nan sits down on the chair and Antigone is standing at the side of her. We said that it would make more sense for Antigone to stay at the front of the chair instead of moving slightly behind it because it would mean that the two could be closer together and it would make the relationship more believable.
We also found that all but 2 of the cast ended up on the same side and so we decided that after a short scene between Antigone and Ismene they would both go off stage right so that it balanced the amount of people on each side.
Also once Antigone has been captured after the machette physical sequence, we noticed that the energy levels drop drastically and so we said that Antigone would make more struggling noises and her breathing would still be increased which would keep the audience on edge and also would keep them focused on the scene.
When the cast has stopped being their characters in a scene , we a agreed that once they were offstage they became their actor character and joined the rest of the chorus members around the side watching what we going on. We also said that rather than having the chorus members around the edge being quite passive we said that they could be actively watching what was going on as though it was the first time that they had seen it and if something was funny, we agreed that they could laugh and also when the audience were drip-fed information the chorus could react to that because they know what is to come and they could start making connections between the action that was being shown and what the end consequence is.
Once we had run trough separate scenes, we did a full run through which brought up some changes that needed to be made. First of all, I need to be louder in the scene with Nan so that my voice is projecting out to the audience and also we fixed the staging when Nan sits down on the chair and Antigone is standing at the side of her. We said that it would make more sense for Antigone to stay at the front of the chair instead of moving slightly behind it because it would mean that the two could be closer together and it would make the relationship more believable.
We also found that all but 2 of the cast ended up on the same side and so we decided that after a short scene between Antigone and Ismene they would both go off stage right so that it balanced the amount of people on each side.
Also once Antigone has been captured after the machette physical sequence, we noticed that the energy levels drop drastically and so we said that Antigone would make more struggling noises and her breathing would still be increased which would keep the audience on edge and also would keep them focused on the scene.
When the cast has stopped being their characters in a scene , we a agreed that once they were offstage they became their actor character and joined the rest of the chorus members around the side watching what we going on. We also said that rather than having the chorus members around the edge being quite passive we said that they could be actively watching what was going on as though it was the first time that they had seen it and if something was funny, we agreed that they could laugh and also when the audience were drip-fed information the chorus could react to that because they know what is to come and they could start making connections between the action that was being shown and what the end consequence is.
No comments:
Post a Comment