7.

Ensemble

- What is an ensemble?

An ensemble is group of actors who work together to form the cast of a show. They are a team or 'unit' of cooperative individuals who work as one to contribute to add effect.

- What has to happen in the rehearsal room to develop a successful ensemble? 

For a successful ensemble to work, every member needs to be focused and alert. They all need to be ready to learn, cooperate and contribute ideas to the group to help form a well rounded cast. If they fail to do so, the entire company fails. Each person is of vital importance.

A representation of the typical London pub.

An ensemble helping create the horses in 'War Horse'

My favourite ensemble piece so far has been in the third east end tale in which the cast portray the typical London pub. With its loud atmosphere, we emit a joyful effect upon the audience which not only makes the scene more enjoyable to watch, but more enjoyable to perform in as well. The scene has great use of props which not only symbolise, but replicate objects which are important to a pub and the way the cast transitions from one object to another, even though the object stays the same, is slick and smooth. This helps to show each the transition between scene seamlessly.

TALE 3

- How have we decided to stage Tale 3? 

We have decided to stage this tale in a very abstract way. We have decided to use stalls as many different objects. Starting from chairs at the pub and then morphing into the pubs bar section. Because we have chosen to use the stalls as a very valuable piece of staging, the scene immediately becomes slick. We have also staged the scene very openly, making great use of the space. Because the proxemics are this way, we create the effect of a large group of people, commonly seen in the average punters pub.

- What characters do you play in this tale? 

I play a member of the ensemble who helps to transform the set and create the atmosphere of the pub. I do this by teaming up with others in the ensemble and projecting my voice throughout certain parts of the scene. This creates the rowdiness of the pub. I also have a line later on in the tale. I say,"Cos under it all, he's a lost little boy". I say this line in the character of a typical pub goer. I gave my character small nuances which help show the man. For example, I made my character chew on a piece of chewing gum and also made my character have wide, broad shoulders. I also made the character have a very upright posture, I chose this because I thought that it reflected the 'London pride' that was mentioned briefly earlier in the scene.

- What is the atmosphere of Tale 3? How is this different to what we have created for Tale 1 & 2?

The atmosphere in tale 3 is very different to tale 1 and 2 because the scene is very loud and has high spirits. Everybody seems on cloud nine and at an emotional high. Because of this, the atmosphere is very uplifting and makes the audience feel happy. But as the scene continues we see the darkness of the scene. Whereas tale 1 and 2  are very much a descriptive piece, unlike tale 3 as it tells a story. Because of this, the atmosphere isn't as dark or uplifting. It's merely just informative.

TALE 4

- How have we decided to stage Tale 4? 

In my opinion, tale 4 is the most physical tale out of them all. The ensemble has a harder time as we have to move about the space more to create the environment. We have staged the scene abstractly. Using our bodies to create most objects in the scene. Because of that decision, the characters are staged very clinically. This is because the scene has details, such as isles in a shopping market, that call for a more orderly layout.

- What characters do you play in this tale? 

I play a member of the ensemble who helps to physicalise the scene. I play the centre isle of the shopping market and I also play the till. I do this by using my body to create a representation of these objects. I also say the line, "Has she been crying? Or is it the rain?". I decided that my character would be full of intrigue and that he is the sort of person who is nosey but caring.

Further questions...

- What acting skills have you continued to develop over the past few weeks? Is there anything new you have discovered about your own skills?

I have discovered that I can take risks in my characterisation. I decided to have a go at adding a hint of comedy to my taxi driver character in the prologue. By trying this, I discovered that I shouldn't be afraid of trying a new things and in the process learnt I can actually surprise myself with my comedic sides!

- Return to all of the sections of the text we have staged so far. Select a line from each that sums up that tale.

Prologue: "Y'know Pabna? Near Dhaka."
Tale 1: "And his dad use to hit him."
Tale 2: "She secretly lonely at home after dark."
Tale 3: "At home on his own Jack cuddles the quilt."
Tale 4: "Yesterdays stories that the rain might wash away."

Set yourself  three rehearsal targets:

1. Utilise the space.

2. Develop emotion behind the character.

3. React PHYSICALLY to the situations.

Reflect on the targets set:  Have they been achieved? How?           

1: I have used more of the space in all of my scenes, especially in Tale 6.

2: I have figured out the objectives of the characters, this has helped me understand the meaning behind the lines and enabled a more emotive performance.

3: In tale 5, I now react to the abuse performed by Jake behind the stage, this is now more realistic,

What would you give yourself for today’s rehearsal? 

Marking criteria:	Why?
P2 Demonstrate personal and technical skills in rehearsal making a positive contribution to the process
M2 Demonstrate personal and technical skills in rehearsal, consistently making a positive contribution and constructive contribution to the process.
D2 Demonstrate personal and technical skills in rehearsal with consistently positive and constructive contributions, engagement, commitment, input and self- reflection.	I have shown confidence in rehearsal and I have remained focused and demonstrated commitment in rehearsal.

5.

Rehearsing 

This layout of staging is known as a thrust stage. There are many advantages of this layout, for example, the actors can utilise the space more and perform to other areas of the audience. Although there are many advantages to a thrust stage, there are also disadvantages to the layout. One of which is that the actors can restrict view for the audience as some sides of the audience cannot view your face. As an actor, your face is important as it is essential for portraying emotion. But if the audience can only see your back, they can't understand the scene or see what's going on.

- As an actor what are the challenges you think you will have personally being directed in this space? 

I think I will be challenged by the use of proxemics and performing to all sides of the audience.
to overcome these difficulties, I need to be more confident in my performance and not 'hide in my shell' so to speak.

- How have we staged the prologue? Why have we made this choices? What is the effect that is created? 

The prologue has been staged in pitch black darkness but lit by mobile phone light to replicate the headlights on a car. This choice was effective as the audience can visualise what the actors are portraying through physical theatre.

Tale 2

What is your role in the tale?

My role in East End Tales #2 is a role in the male ensemble which through music tries to embody the physicality an emotion of the East End of London.

How has it been staged?

The scene is staged by having the cast start off stage at the beginning and slowly filtering on holding our darkened mobile phones close to our chests hiding its light until its our turn to say our lines. Once our lines have been spoken we move towards the back of the stage and wait. Kneeling facing away from the audience.Then in sequence and in pairs we wait our turn to stand and draw on the wall a picture of the woman being described in the scenes played.

Why have these choices been made?

The decision to perform the play in this way, I believe, gives the piece a depth of passionate feeling which connects the actors and the audience during the performance. As an actor I am trying to create a role which is effective and relevant to our group. The plays scenes have many underlying emotions and under tones and I hope through our theatrical staging it portrays these emotions, thoughts and characteristics in way that takes the audience on a journey which allows them to understand the performance as the angst and thought provoking natures being portrayed by the performers.

 What are the strengths of this piece so far?

The strengths of this piece so far is that the entire group is committed and that were all trying our best  to make it the best we can make it. We are also as a group very good with our spatial awareness. We use this technique when we are beginning the scene when we all slowly walk onto the stage. The groups is also very strong in their projection. All our lines are delivered with audibility and clarity. I feel we are working as a team; we have faults which by rehearsing and rehearsing they slowly disappear.
I feel that from my first beginning of my involvement with this project I am slowly gaining more confidence and the support of my class mates is a great source of comfort to me. Especially if I get my piece wrong I feel they are on my side and wishing me well. This in turn is gently allowing me to bring myself out of my personal darkness and very slowly into the light. I know there is a long way to go but with their help I now feel it can be achieved. 

What developments need to happen throughout the rehearsal period? 

We need to seriously be honest with ourselves and one another. Giving support were necessary and to praise each other when things go well.
There is a long way to go before this piece is complete and time is now of the essence so we need to be serious in what we do and what we say. Being on time and punctual and not messing about is important. We need to be professional in our approach.
If one person fails the whole team fails. So we must work together.