Theatre In Education 1.1

TIE started back in 1965 at the Belgrade Theatre, Theatre-in-Education (TiE) in short is a programme creates a performance supported with audience participation, often in the form of interactive workshops. These are facilitated by the performers and teachers from the school using a variety of techniques. It's usually less concerned with imparting factual knowledge and more concerned with exploring sensitive issues. The programmes are mostly supported by teaching materials designed to encourage further work by teachers and young people following the TIE visit (teachers pack)

In my opinion this is the best way to do TIE, It is a performance technique with stop and start action. The play is performed once without interruption, with the characters facing a number of dilemmas and choices. The pupils are encouraged to step into the characters shoes and think about how they might handle things differently. Scenes from the play are repeated and the young people are invited to stop the action and intervene. The reason I believe that it is the best way because it’s not only entertaining the students through the use of role play but it is educating them through others experiences.

An example of a theatre in education is, Bigfoot, The company began in 2000 and  started out as a very small drama workshop company working in a few schools. Now they are one of the UK's largest independent arts education companies providing performing arts and creative arts based learning to hundreds of schools across the country. There specialties are to provide workshops and courses helping over “35,000” pupils a week in The “Primary and Secondary learning environments”.  They don’t just do theare either they do all forms of arts including film making, dancing, painting and yoga!!

Big foots aims are to:

·         Help children discover there talents and abilities at a young age ‘the sooner, the better.’

·         They want Children to be given ‘space to freely express themselves without the fear of judgement.’

And they believe ‘The best learning results are achieved by making learning seriously fun and play-full.’

References

uk essays. (). Child Development Influence On Childrens Theatre Education Essay Read more: http://www.ukessays.com/essays/education/child-development-influence-on-childrens-theatre-education-essay.php#ixzz2kFbOvjcK. Available: http://www.ukessays.com/essays/education/child-development-influence-on-childrens-theatre-education-essay.php. Last accessed 10/11/2013.

big foot. (ublished: Saturday 29 September 2012). about big foot. Available: http://bigfoot-theatre.co.uk/about. Last accessed 10/11/2013.

wikipedia. ( 3 April 2013 at 19:52). Belgrade Theatre. Available: http://en.wikipedia.org/wiki/Belgrade_Theatre. Last accessed 10/11/2013.

The purpose of theatre

Verbatim-Paul Garnault

Talking about each others scenes, characters plot and piecing them together to make the show,

Brainstorming ideas, bouncing them around tryin to build the show putting it together.

What I have discovered as an actor I like to use visuals to aid me and also that I have a very strong opinion on the directing sides like directors theatre, however working with groups it aids the idea to grow, this stops deadly theatre happing which is something as a creative actor I would like to stay away from.

Historical Context- Ellie Darvill

This pictures shows what era uses what stage and what audience capita they would perform to...

Voice & Speech Programme- Ellie Darvill

What i need to work on 

Glottal Stops, finish syllables.

Sibilance  on t’s and over essy.

Work on  Pitch variation and musicality

Fluency – use punctuation.   Enjambed  lines– flow of thought 

 Onamatapaie of words  - practice lifting them from the page.

Now over the past couple of weeks i have been doing these exercises to work on pItch:

I have also been using this exercise to work on my pitch and musicality:

What i have noticed since doing these exercise 

I have noticed that my ear has improved when hearing my voice so that I can consciously try and add pitch variations and i am defiantly noticing a difference with 'onamatapie' which i think has stemmed from pitch work because I am now conccentrating on engaging the listener and adding a musicality to my voice.

Physical theatre/my opinions - Amy Taylor

How volcano has affected me?

Personally I feel that volcano was easy to connect with because they like to attach things that are not really talked about in society for example they attached feminism in one of their early plays and they still like to attach political vues which a lot of other companies shy away from, volcano instills me with confidence as a performer that it’s okay to have a different opinion and challenge others.

What I took from Frantic assembly?

Frantic have helped me to develop especially in the contact side of physical theatre because frantic has helped me to explore manipulation and domination over another character, this has also opened my eyes when acting because the feeling f being dominated or manipulated can only be truthfully told if you have gone through the experience which I got the chance while doing contatct through frantic assembly.

In addition to that frantic assembly has taught me that an objective may not be just a word it could be a movement or a feeling, and I have found it a lot easier to understand objectives using feelings instead of jut words.

How it Complicite helped me?

This company for me has done the most, it got across to me that nothing is right or wrong in the theatre industry, this has helped me to free my creative mind and not thin to much just do more and this has helped no end, especially in improvisation situations.

Complicite do use this but it did not come straight from from them Simon studied with this mind set when at Lecoq.

Also I felt that this company in particular I could relate to because they push boundaries

My opinion of Berkoff

Now as a keen actor I have huge admiration for Steven but as a new physical theatre student I have even more admiration, I think that Steven Bercoff has had the most impact on me(from a physical theatre) as a performer because the fact that he keeps everything fresh new and innovative means that he challenges me when I come to make for example site specific pieces to push the boundaries and delve deeper into the theatre world.

Mini Task-Amy Taylor

Our devised piece of theatre was used to show awareness of suicide and to tell a story. We decided to do it in a story because this way the audience will get attached emotional to the characters and that way they can feel the feeling that the characters are feeling throughout the piece.

We used techniques such as masks, to dehumanise the actors because at this point facts would be shown to the audience for example how many people die a year from suicide, this is for the underline message of being scared of the facts. This technique was perfect in our piece and worked really well as the audience evaluation said that they were surprised with the facts and the masks really help to draw the attention away from the actors but more on to the facts. Masks were used in commedia dell’arte which is what initially influenced me to use them because it shows that tey are an effective tool in theatre. I researched masks in more depth and I found a French director that tried to push the boundaries of theatre and he goes by the name of Jacques Copeau , he “attempted to move away from Naturalism. He turned to sources such as Oriental Theatre and commedia dell'arte, both of which forms feature masks prominently.”

Harvard referencing

Wikipedia. (12/02/2013). Jacques Copeau. Available: http://en.wikipedia.org/wiki/Jacques_Copeau. Last accessed 19/02/2013.