8.

PROLOGUE

In the prologue, I play the part of the taxi driver. I decided to characterise him as your typical taxi driver on the streets of London whose one clear objective is to earn a bit of money. I decided to show this by making my character very 'on the ball' and fast paced. This shows that my character really wants to get going to find more work and that his responses to the questions from the passenger are fairly rushed. This makes it seem like he's desperate to earn enough wage to support his family.

TALE 2

In this tale, I play the part in the male ensemble. Even though I'm in an ensemble, doesn't mean I don't have a character. I decided that my character is an ex boyfriend to the girl he's describing and he shows the audience that he thought this was the perfect idea of a girl. But in matter of fact he's talking from his old perspective and showing us that he was wrong. My character shows signs of guilt that he did something wrong and that he is still scarred from his relationship with the girl as she had problems that were under her skin which he could not see.

TALE 3

In this tale I play the typical pub punter. My character is a potty mouthed Londoner, who relishes the idea of spending time with his mates and downing a pint in 'record' times. He likes to be in the pub because he's a social person. He is always outside and he always gets home late from a night out with his friends.

TALE 4

In tale four. I play the part of a Londoner who lives a fairly quiet life and has never really experienced anything out of the ordinary. That's why when he see's the women 'crying' and struggling on her own. He's confused as this isn't really what he's used to seeing. He would like to help, but has never been in a situation like this, so he has no experience in what to do.

TALE 5

In this tale, I play the part of the neighbour who lives next door to the abusive couple. My character isn't really a nosey person, but because of the volume of the neighbours, he is forced to have to listen to their conversations. By hearing the neighbours arguments, my character becomes invested in what's going on. Sort of like watching your favourite TV show. Upon hearing the experiences of the couple, my character changes from a nobody into a caring and sympathetic man. He learns about the truth about what happened and is changed forever. I show this by saying my lines slower and anxiously. I also have a little sigh at the end of my lines to symbolise the relief that the women would of had from the end of her rows.

TALE 6

In tale six, I play a man who has gone to the bar to meet up with his old friend (played by Alabama). He is a man who caring and hates to see others in pain. That's why my characters sort of soliloquises about how much he doesn't want the women to be hit by the man.

EPILOGUE

In the epilogue I return my original character of the taxi driver. This time he is showing the opposite views to his original. He has had enough of his job and is desperate to just return home. This is why he gets so agitated by the passenger looking for a lift. I saw this scene as the end of his career whereas the first scene I saw it as his first day on the job.

Line obkectives

Yeah 
Some people
Some people think the city sleeps at night
Bollocks
That's when its most awake              ------ His objective is to prove that the stereotype is wrong.

Yeah I see a lot
Not all of it nice
People all over the place
In my face
I put my foot down sometimes
I ain't havin it 
Yo gotta draw a line
Knoworramean?   ------ His objective is to show to the passenger that he's experience and that he's                                              wise.

She's bold.
She watches the news but it makes her depressed.
She's crazy about this guy at work. ------ His objective is to tell the story of the girl and describe the                                                                      girl to the audience.

So about a week after he moves in
early evening
Were trying to watch the telly
and this big row starts
next door
at number four
don't think too much of it
just a domestic
these things blow over 
you know how it is ------ His objective is to block out what he's hearing next door.


And I'm thinking
Hoping
Pleading
Praying
Reaching out with all my inside
Don't hit her!
Please don't hit her!
The whole pub can see you've had a bad day!
But don't you hit her?
Don't you dare hit hit her! ------ His objective is to try and stop the man from hitting the girl.

Look
D'ya mind takin yer hand 
Off the
Off the thingy 
It's just that ------ He's trying to get the person to remove there hand of the car window.
Yeah I can see that
I'm not feelin to well myself as it goes
Touch of mornin sickness I reckon
Nah
Didn't think you'd believe me ------ He's trying to prove a point and get out of having to take the                                                                  person as a passenger.

Set yourself  three rehearsal targets:

1. Remember the blocking.

2. Add a distinct character feature to your taxi driver.

3. Have fun with tale 3.

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

1: I have written on my script the blocking and transitions to help me remember.

2: I have made it that my character is very loud and the epilogue and also quite intimidating.

3: I have learnt to relax and have fun in tale 3 now since I have gone through the transitioning.

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.	I demonstrated constant contributions to the group work and stayed focused and alert throughout the lesson.
D2 Demonstrate personal and technical skills in rehearsal with consistently positive and constructive contributions, engagement, commitment, input and self- reflection.