Well starting off with the feet. When walking, the feet has to make complete contact with the ground. This means that when walking, a footstep must begin with the heels, after which the rest of the foot is planted firmly on the ground. Then, the foot is lifted off the ground with the transfer of momentum to the ball of the feet.
To ensure that the steps are smooth, the knee is bent, again frimly rooted to the floor, belying a very firm and grounded style of dance.
When maing movements with the arms, only the elbows, writs and shoulders move. these movements are in circular motion, never in a straight line.
Lastly, all through the actions, the chest is always hellp up, head tilted slightly upwards and bottoms flexed so as to allow the actor to be as graceful as possoble when carrying out his/her movements.
Monday, July 27, 2009
The first Rehearsal
Well, we managed to accomplish half a scene. The movements were not the easiest to choreo as it didn't come so naturally and needed quite a bit of thinking before it could be used. Isaac helped me out by making sure that my movements were in tangent with the character's personality, age group and social stature. Rachel Boo seemed to have a natural talent for the style and so did outstandingly well, helping me out with nuances in the movements and it's execution.
All in all, it was a good rehearsal.
All in all, it was a good rehearsal.
Tuesday, July 21, 2009
The Script As It Was Planned After Consult
Ok after consulting Mrs Wong, an artistic director and chinese opera actress, we'd come to the conclusion that we were going to take the approach of modern chinese opera, where the need to appeal to the audience was of great importance, and as such decided to go along with an Americanized step sister and a 'Chinaman' type Fairy god father.
This is due to the fact that the modern audience needs to have a connection with the characters and be consistently entertained by that 'one' character who does things differently and as such, the godfather became the stereotype of the strict, constantly annoyed chinese man who seems to have a funny side and the stepsister the shallow superficial girl like today's trend-chasing girls.
The above allows the audience to connect with REAL people they may have met throughout their lives. As our target audience is teenagers, they will be able to relate to the Fairy Godfather as a teacher or parent who consistently nags and picks at them yet genuinely cares, while the stepsister is the girl in the class or the one in the street who looks like an airhead but tries to hide it.
In terms of MOVEMENT, this will allow a more varied form of movement for each of these characters and give the play a contrast from the ancient norms of opera and fairytales. The Fairy Godfather for example will have mechanicalish and rigid movement, yet he will have a few playful moments here and there to give him that 'human' connection. The stepsister will have more 'fluttery' and 'wavy' motions which will show her front of trying to be fragile and delicate. She will also have tantrum like behaviour to show her stubborn character which shows that she's a sore loser.
This is due to the fact that the modern audience needs to have a connection with the characters and be consistently entertained by that 'one' character who does things differently and as such, the godfather became the stereotype of the strict, constantly annoyed chinese man who seems to have a funny side and the stepsister the shallow superficial girl like today's trend-chasing girls.
The above allows the audience to connect with REAL people they may have met throughout their lives. As our target audience is teenagers, they will be able to relate to the Fairy Godfather as a teacher or parent who consistently nags and picks at them yet genuinely cares, while the stepsister is the girl in the class or the one in the street who looks like an airhead but tries to hide it.
In terms of MOVEMENT, this will allow a more varied form of movement for each of these characters and give the play a contrast from the ancient norms of opera and fairytales. The Fairy Godfather for example will have mechanicalish and rigid movement, yet he will have a few playful moments here and there to give him that 'human' connection. The stepsister will have more 'fluttery' and 'wavy' motions which will show her front of trying to be fragile and delicate. She will also have tantrum like behaviour to show her stubborn character which shows that she's a sore loser.
Monday, July 20, 2009
Movement in Chinese Opera
Well, after a lot of talking around and Saturday's performance and introduction to chinese opera, I finally know what to do!!!
Movement in chinese opera is like a dance. And it works around the 'rule of opposites'. This means that whenever one does an action, it begins in the opposite direction it is supposed to go. Say for example greeting. The actor will perform hand movements while walking backwards and then walk back to the front continuing these movements till he stops to prostrate, performing a bow. I'll search for a video and put it up as soon as I find it. Other than this, the movement for female characters requires more hip and wrist movement while the male characters have more elbow and shoulder movement. Along with this, the posture of the male character is very important especially since we're going to have a deity and a prince.
Movement in chinese opera is like a dance. And it works around the 'rule of opposites'. This means that whenever one does an action, it begins in the opposite direction it is supposed to go. Say for example greeting. The actor will perform hand movements while walking backwards and then walk back to the front continuing these movements till he stops to prostrate, performing a bow. I'll search for a video and put it up as soon as I find it. Other than this, the movement for female characters requires more hip and wrist movement while the male characters have more elbow and shoulder movement. Along with this, the posture of the male character is very important especially since we're going to have a deity and a prince.
Saturday, July 18, 2009
Roles
Saad-Movement. As movement coordinator, i'll have to choreograph the movements according to the script and traditions of chinese opera, make sure that the gestures fit in with the words, the mood od the dialogue, the costumes and their restrictions and will contribute to the overall success of the play.
Isaac- Scriptwriter. As the scriptwriter, Isaac heads the scipt production, while I help him by cross checking the lines and mood, making appropriate changes when needed.
Rachel- Makeup Artist. As the makeup artist, Boo will have to make sure that our makeup follows the traditions of chinese opera and that our character type and chracteristics can be immediately recognized as soon as we enter the acting space.
Wen Zhen- Costume. As the on heading costume, Wen Zhen has to design costumes fitting our characters personality and social standing.
Priscilla- Director and Tech. She is going to head the research and the blending of the east meets west concept. She is also going to be making sure that everything falls in place and all aspects of chinese opera are present.
Isaac- Scriptwriter. As the scriptwriter, Isaac heads the scipt production, while I help him by cross checking the lines and mood, making appropriate changes when needed.
Rachel- Makeup Artist. As the makeup artist, Boo will have to make sure that our makeup follows the traditions of chinese opera and that our character type and chracteristics can be immediately recognized as soon as we enter the acting space.
Wen Zhen- Costume. As the on heading costume, Wen Zhen has to design costumes fitting our characters personality and social standing.
Priscilla- Director and Tech. She is going to head the research and the blending of the east meets west concept. She is also going to be making sure that everything falls in place and all aspects of chinese opera are present.
Reading During The Hols- Text 1
Ok 4.48 Psychosis. A play which blew me away yet made me feel so bare. This play was written by Sarah Kane. It was her last play which describes someone undergoing clinical depression, a condition she had at the time.
What The Play Was About-
-Suicide
-Self Doubt
-Self Conflict
-Self Probing
-Self Questioning
-Despair
This play, made me realize how fractured human beings are and the pain and suffering we go through on the inside.
What The Play Was About-
-Suicide
-Self Doubt
-Self Conflict
-Self Probing
-Self Questioning
-Despair
This play, made me realize how fractured human beings are and the pain and suffering we go through on the inside.
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