Saturday, 3 May 2014

Scenes

The Week

At the end of yesterdays lesson we decided that we would reflect on the past week as a group. At the top is what we had planned for this week which was:
*  To include Hero more 
*  Find the striped pyjamas
*  How we will do the beginning 
*  James and Elsa 
*  Pg 83 Ursula's death

This week we have managed to do everything that was on our agenda:
* For Hero, we have included a monologue
* We have found the striped pyjamas thanks to Jonathan :)
* We all agreed that we would do the beginning scene in the foyer and possibly start outside and then segregate the audience through separate doors, with one half of the audience being part of the arrival and the other half being onlookers. We would then go into the death of Hero's child and then lead them down into the hub.
* This is James and Elsa's 'lovey dovey' scene. For this we have used what we did with Alex and interpreted it to fit more within the context.
*  We added some script from pg 83 to the end of Ursula's death. It is dialogue between Beatrice and Benedick. It is them saying that they love each other and Beatrice tells Benedick to kill Joanna (Don Jon)

Friday

In yesterday's lesson we started off by quickly marking what we did the day before. Then we did a quick warm-up and then properly went over the 'gas chamber' scene. After we worked out what was still left to do and decided what we would tackle in that lesson. We managed to do the violin and began a run but due to lack of space we were unable to complete it. Instead we went off with Jonny and sorted out the striped pyjamas (finally!!:)) 





This

Tuesday, 29 April 2014

Ideas

James' idea: James had an idea on a transition from Auschwitz being liberated to the Nuremburg trials (courtroom scene). He thought that maybe we could sort the audience in Pod 1A into male and female and then lead them into the scene dock where they would then be effectively 'gassed'. From there the doors would then be opened and they would be led into the HUB where they would be standing looking into the trail of James' character (Benedick/Franz) with a rope hanging from the grid like a noose. As Becs and myself discussed this, we thought that moving the audience from the blackout pod into the scene dock, through the corridor is quite a nice idea; going from dark -> light -> darkness again perhaps could represent uncomfortable -> hope -> fear. We want to test this idea with some people just to see if it is too harsh or dark for an external audience.
Furthermore, today James and myself began to look at the other gas chamber part where Hero/Helena's sister is sent to the gas chamber and is then saved by Benedick/Franz. Because we possibly would be moving the audience along with the cast within the scene we wanted to first try and think of the logistics of this before we put in material as this scene isn't one that you could just put anywhere and from a directing point of view, would be easier to direct once you know where and how.

Thursday, 10 April 2014

Tattoos

TATTOOS AND NUMBERS: THE SYSTEM OF IDENTIFYING PRISONERS AT AUSCHWITZ 


  • During the Holocaust, concentration camp prisoners received tattoos only at one location, the Auschwitz concentration camp complex, which consisted of Auschwitz I (Main Camp), Auschwitz II (Auschwitz-Birkenau), and Auschwitz III (Monowitz and the subcamps). Incoming prisoners were assigned a camp serial number which was sewn to their prison uniforms. Only those prisoners selected for work were issued serial numbers; those prisoners sent directly to the gas chambers were not registered and received no tattoos.

  • VIEW HISTORICAL FILM FOOTAGE

http://www.ushmm.org/wlc/en/article.php?ModuleId=10007056
Initially, the SS authorities marked prisoners who were in the infirmary or who were to be executed with their camp serial number across the chest with indelible ink. As prisoners were executed or died in other ways, their clothing bearing the camp serial number was removed. Given the mortality rate at the camp and practice of removing clothing, there was no way to identify the bodies after the clothing was removed. Hence, the SS authorities introduced the practice of tattooing in order to identify the bodies of registered prisoners who had died.
Originally, a special metal stamp, holding interchangeable numbers made up of needles approximately one centimeter long was used. This allowed the whole serial number to be punched at one blow onto the prisoner's left upper chest. Ink was then rubbed into the bleeding wound.
When the metal stamp method proved impractical, a single-needle device was introduced, which pierced the outlines of the serial-number digits onto the skin. The site of the tattoo was changed to the outer side of the left forearm. However, prisoners from several transports in 1943 had their numbers tattooed on the inner side of their left upper forearms. Tattooing was generally performed during registration when each prisoner was assigned a camp serial number. Since prisoners sent directly to the gas chambers were never issued numbers, they were never tattooed.
Tattooing was introduced at Auschwitz in the autumn of 1941. As thousands of Soviet prisoners of war (POWs) arrived at the camp, and thousands rapidly died there, the SS authorities began to tattoo the prisoners for identification purposes. At Auschwitz II (Birkenau), the SS staff introduced the practice of tattooing in March 1942 to keep up with the identification of large numbers of prisoners who arrived, sickened, and died quickly. By this time, the majority of registered prisoners in the Auschwitz complex were Jews. In the spring of 1943, the SS authorities throughout the entire Auschwitz complex adopted the practice of tattooing almost all previously registered and newly arrived prisoners, including female prisoners. Exceptions to this practice were prisoners of German nationality and “reeducation prisoners,” who were held in a separate compound. “Reeducation prisoners,” or “labor-education prisoners,” were non-Jewish persons of virtually all European nationalities (but at Auschwitz primarily Germans, Czechs, Poles, and Soviet civilians) who had run afoul of the harsh labor discipline imposed on civilian laborers in areas under German control.
The first series of prisoner numbers was introduced in May 1940, well before the practice of tattooing began. This first series was given to male prisoners and remained in use until January 1945, ending with the number 202,499. Until mid-May 1944, male Jewish prisoners were given numbers from this series. A new series of registration numbers was introduced in October 1941 and remained in use until 1944. Approximately 12,000 Soviet POWs were given numbers from this series (some of the POWs murdered at Auschwitz were never registered and did not receive numbers). A third series of numbers was introduced in March 1942 with the arrival of the first female prisoners. Approximately 90,000 female prisoners were identified with a series of numbers created for female prisoners in March 1942 until May 1944. Each new series of numbers introduced at Auschwitz began with “1.” Some Jewish prisoners (but not all) had a triangle tattooed beneath their serial number.
In order to avoid the assignment of excessively high numbers from the general series to the large number of Hungarian Jews arriving in 1944, the SS authorities introduced new sequences of numbers in mid-May 1944. This series, prefaced by the letter A, began with “1” and ended at “20,000.” Once the number 20,000 was reached, a new series beginning with “B” series was introduced. Some 15,000 men received “B” series tattoos. For an unknown reason, the “A” series for women did not stop at 20,000 and continued to 30,000.
A separate series of numbers was introduced in January 1942 for “reeducation” prisoners who had not received numbers from the general series. Numbers from this new series were assigned retroactively to “reeducation” prisoners who had died or been released, while their superseded general-series serial numbers were reassigned to new “general” arrivals. This was the only instance in the history of Auschwitz of numbers being “recycled.” Approximately 9,000 prisoners were registered in the “reeducation” series. Beginning in 1943, female “reeducation” prisoners were given serial numbers from their own new series, which also began with “1.” There were approximately 2,000 serial numbers in this series.
Beginning in February 1943, SS authorities issue two separate series' of number to Roma (Gypsy) prisoners registered at Auschwitz: one for the men and one for the women. Through August 1944, 10,094 numbers were assigned from the former series and 10,888 from the latter. Gypsy prisoners were given the letter Z (“Zigeuner” is German for Gypsy) in addition to the serial number.
The camp authorities assigned more than 400,000 prisoner serial numbers (not counting approximately 3,000 numbers given to police prisoners interned at Auschwitz due to overcrowding in jails who were not included in the daily count of prisoners).

Timeline

MUCH ADO-AUSCHWITZ TIMELINE




This is the timeline of events that happen in our story of Helena and Franz. We haven't decided yet as to whether it is going to go in chronological order or not; we are devising each scene so that it can go anywhere and then once we have decided a definitive order we will then adapt the scenes slightly to fit. We are continuing to add information and possible events to this timeline. We need to make sure that we still somehow incorporate everyone and their story. Some of the scenes above will be short and others longer, and some may even merge into one. 
I will posting the more updated version next Thursday.

Saturday, 5 April 2014

Ghetto

^^^Jonathan gave us some ideas^^^ 

Images - visual images for the audience.

4/4








In this lesson we realized that there was a scene left over that we didn't give to anyone to direct. Pedra's Death. From this we decided that we would all have a small input into this scene and get it up on it's feet. Today's rehearsal was a good rehearsal; we have a a good starting point for a scene that we just need to keep adapting in order to make it full of precious moments. Today's rehearsal also reinforced everything that we need to keep on doing. Detailing, bringing in our research, keep on adding little moments, looks, relationships. NEVER FORGET ABOUT THE AUDIENCE AND WHAT THEY NEED TO SEE.

Scene split-up

We needed to split up the scenes that we are thinking of doing between us so that we can begin to think about how each of them are going to look. We are directing scenes individually. There were 7 scenes and 7 of us. We need to now separately think about how we would like the scene that we are directing to look. Further we need to create 2 or 3 different ways that we can direct the scene in case our initial idea doesn't work. 
I am directing the 'Gas Chamber' scene.
This is from Wednesday's lesson

Tuesday, 1 April 2014

01/04/2014

Today we got feedback from our funding pitches, this is what we were given:
Make sure that we stick to telling the story of Helena and Franz and be careful not to tell the story of Auschwitz - it is easy to over complicate stories, simplicity is bliss.
Look at the National Jewish Society on the Digital theatre site - they did a play about the holocaust survivors.
Look at stories from where love has conquered all in the most adverse of places.
Think about how we are going to tell the story. Don't try and tell Much Ado. Be careful of what parts of the text we use.

Wednesday, 19 March 2014

MISSION STATEMENT

This is our mission statement from a while ago.

Our Shakespeare re-imagination of Much Ado About Nothing is set in a historical context of Auschwitz Concentration Camp. This is an innovative new take on the plot-line of Beatrice and Benedick, entwined with a real life story from within the camp. A major aim of the production is to inform and explore the nature of humanity with our audience, in a participative role. The style of this piece is dark and naturalistic with undertones of tragedy; a dark adaptation of the original play.

RADIO 4 INTERVIEW


Female Auschwitz survivor - Kitty Hart-Moxon

I listened to a radio interview from an Auschwitz survivor Kitty Hart-Moxon. These are the notes that I made from this:
She remembers everything that happened prior to being taken. She and her mother had moved from her home town into another town where they were found out by the female citizens that they worked with. Kitty said that they the reason that they were turned in was because it seemed that the women that worked with them were jealous because she and her mother could both speak perfect German and also had an office job compared to them working in the factory. The women worked out that Kitty and her mother were not from there because they had a slightly different accent.

Only Kitty's mother survived with her. Her father was shot, her brother was called for the army and her grandmother had to be left behind.

Kitty knew nothing about Auschwitz before she got there.

Women were better at looking after each other - they helped each other out even though conditions for women were a lot worse than what they were for men. The women would try and make 'friendship groups' of about 4-5 women that all had different skills and jobs. For example in her 'friendship group' one of the females worked by the lavatories, one with the clothes and one was a nurse.

Nobody was at all confident that they would survive - "the only way out is through the chimney. And we all knew what that meant.", "Each day we stayed alive was a gift."

When she got to England after they were set free, Kitty had a horrendous time. No body wanted to know what had happened to her, people would refuse to talk about it and would whisper behind her back about the tattoo on her arm. It took 10 years for somebody to ask question about what happened. Kitty was angry that no body seemed to care and them refusing to even try and understand.

Kitty now goes around teaching children and young adults in order to help them understand and know about the events to try and prevent it from ever happening again.

Tuesday, 18 March 2014

Production meeting

AGENDA

 
Bring in text-copy of the text
Rehearsing on wednesday
Cast list
Presentation
Characters

Today- characters
Lesson times and the wed 2-6
Tomorrow- presentation
Wed lesson- text
Wed afternoon- presentation
Thurs lesson- text (bringing the text to life)
Friday lesson- casting and characters.
 
We have organised it like this so that we can get our funding pitch sorted and out of the way to then begin to concentrate on ideas of which angle we wish to take.
 

Wednesday, 12 March 2014

Today's Rehearsal

Today in the rehearsal we work shopped 3 ideas.

The first one that we did was Elsa's idea:

Elsa came up with this idea from something that we did at SAS on Monday. It was about people leading others using their hand on the back of their neck (it is an exercise in pairs). At first we took it softly and gently to allow everyone to get used to it (those of us that had done it before led the others that hadn't) then we picked up the pace and made it a bit rougher either by using more force or controlling them by holding their shoulders. Once everyone was used to this, we then developed it so that the people that were controlling would walk up behind someone and mould them into a position before moving them.
The aim of this exercise was to portray oppression.
We did indeed feel oppressed. You also felt very insecure, unsure, disoriented and you had no choice but to be submissive. Rose said it looked strong and powerful.

The next idea was from Daisy:

Daisy asked us all to stand in a line one behind the other and to put both our hands on the person in front shoulders. The person at the back leads. Everyone apart from the leader was to close their eyes and you had to follow the direction that the person behind you would pull you towards.

The last idea was from James:

Again James got us all to stand in a line one behind the other with our eyes closed holding on to the next persons shoulders. This time James was ordering us around, telling us when to stop and when to go.

Today's rehearsal was good as we managed to stick to our aim which was to workshop 3 different ideas. It has also opened up some ideas that we may want to develop further and delve into, for instance I really like Elsa's idea with the oppression and I think that if we worked on it and developed it, it could work really nicely for either of the concepts that we are exploring this week (Auschwitz and Witch Trials) .
The concept of James' input was good for the Auschwitz idea with him in command and essentially controlling us. In addition, I did like Daisy's input also. Again, if we were to adapt and develop it further it may again work for either adaptation.  

Tuesday, 11 March 2014

Monday's production meeting

We sorted out what dates and times that we are going to rehearse:
WEDNESDAY's - 14oo-18oo
This is the only extra rehearsal that we have so far but we have decided that as we progress we will extend out Thursday's rehearsal until 18oo.
We have further decided that we will be rehearsing Thursday the 10th from 10-3 and also Thursday 17th from 10-3. We will extend these rehearsals if needed.
Aim for the end of the week:
-To have decided which idea we are going with.
-Workshop different ideas.

HELPFUL RESOURCES
  • Music Week
  • Bitannica Online
  • UK Newsstand
  • Digital Theatre Plus

  • Sunday, 9 March 2014

    Nostalgia

    Themes:

    From the moment the messenger informs Leonato of Claudio's glorious feats in the recent war, Much Ado abounds in references to the past and passing of time. This creates a lingering nostalgia for another and better age, which the prominent contrast between the elderly and youthful characters strengthens, making the reconciliations of the final act more momentous.
    Beatrice and Benedick dwell on the past, recent and remote, actual and legendary. She inveighs against the hypocrisy of men who swagger like classical heroes and pretend to an honour their action does not support. Her prejudice is confirmed when Hero is denounced. Her oxymoron 'valiant dust' juxtaposes pretence and reality. Benedick's recollection of his military past contains a spark of antique glory. He contrasts its manly simplicity with effeminate romantic love: 'he was wont to speak plain and to the purpose (like an honest man and a soldier) and now he is turned orthography'. Contrasted with a soldier's freedom and adventure - the hunt, womanising, target shooting, drinking - are domestic boredom and servitude, 'thrust thy neck into a yoke, wear the print of it, and sigh away Sunday's'.
    Beatrice and Benedick are energetic social critics. They yearn for past glory, which is the standpoint of their cutting satiric humour. Through the Watch wider satiric comment is made on the degeneracy of the age - the worship of fashion, the arrogance of power, the decay of morals. 
    The 'merry war' between Beatrice and Benedick is playful and diverting, unlike the real pain which Claudio inflicts upon Hero in the name of honour. In their witty phrases, insults and ripostes a delight in the shaping of the language takes the sting from its tail. Their language roots them firmly in the present. When they confess their love for each other Benedick begins ironically, unable to make himself entirely seriously as a lover: is not a lover a fictional construction, he appears to inquire, required to behave in absurd, predictable ways? Therefore, he asks Beatrice, only half seriously, what wonders he, as gallant lover, can perform for her. Her 'kill Claudio' takes him aback, therefore, as it exacts commitment to an heroic ideal - protection of the weak by the strong, avenging dishonour. Both, through their nostalgia for the whole-heartedness of the past, commit themselves to action in the present, which gives their love vitality and their commitment to each other meaning.
    The roughness in which Beatrice exacts the promise and Benedick challenges Claudio and repudiates Don Pedro bespeaks their sincerity. Otherwise, their language has the wit and style of those removed from the stresses of life, steeped in the literature of the past. 'Is not that strange?' Benedick asks rhetorically as he confesses his love and 'for which of my bad parts didst thou first fall in love with me?' he inquires once they are betrothed. He savours her metaphor when she in turn asks, 'for which of my good parts did you first suffer love for me?'. They agree finally to love each other 'no more than reason' reconciled to the changes of time and nature, since 'man is a giddy thing'.
    Their wit has been softened, not lost. Although the code of honour has not entirely been rejected, since the romantic lovers do in the end marry once Hero is vindicated, it has been challenged and renewed. Claudio's and Leonato's insensitivity has exposed the destructiveness of a nostalgic adherence to an archaic code. Beatrice and Benedick love with an intensity they imagined was an aspect of former times. Although their literary style both establishes a continuity with the past and detaches them from their own passions, their involvement in the present is enhanced.

    Definitions:
    NOSTALGIA: a sentimental longing or wistful affection for a period in the past.
    INVEIGH: to protest strongly or attack vehemently with words
    EFFEMINATE: (of man or boy) having traits, tastes, habits etc., traditionally considered feminine, as softness or delicacy.
    ORTHOGRAPHY:  the art of writing words with the proper letters, according to accepted usage: correct spelling.
    ADHERENCE: the quality of adhering; steady devotion, support, allegiance, or attachment.
    ARCHAIC: marked by characteristics if an earlier period.

    YORK NOTES.

    'Much Ado is concerned with the 'mundane' in love and that it is the first play in which the differences of male and female worlds are prominent and the female predominates.' 

    Saturday, 8 March 2014

    TO REMEMBER!

    1) What is the story we want to tell?
    IN CONJUNCTION WITH
    2) How do you want to tell it?
    FOLLOWED CLOSE BEHIND BY
    3) Why do you want to tell it?
    THIS THEN LEADS TO
    4) What effect do you want to have on your audience?
    FOLLOWED BY
    5) How will you create that effect?

    We need to answer these questions once we have decided which idea we are going with. This will help us as it will force us to think about plot, context and our audience. 

    Friday, 7 March 2014

    Viel Larm um nichts


     REHEARSAL:

    Today we developed all 3 ideas.
    Yesterday, Elsa brought in a song as a stimulus to go alongside James concept of Auschwitz.
    "Ah poor bird,
    Take thy flight,
    High above the sorrows
    Of this dark night"

    Idea 1: AUSCHWITZ:

    James brought in a true story about one of the holocaust survivors.
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    V
    http://muchadoparrettjung.blogspot.co.uk/2014/03/much-ado-about-nothing-idea.html
    From this we were thinking about how the woman and the guard could represent Beatrice and Benedict. The reason we thought this is because their love is not really supposed to happen and shouldn't happen but still it does. Further, the woman testifies for the guard at his war crimes trial (even though nothing more happened between them) this shows that their love was strong despite everything she saw him do.
    Hero and Claudio could represent the sisterly love.

    Idea 2: WITCH TRIALS

    This was Elsa's input: Elsa wanted to go through the route of how Hero is automatically accused of adultery without a fair trail and without her being able to say otherwise. This links to the mistreatment of women and how they are seen as possessions. She looked back into history and found that the miss cause of justice links back to innocent women being wrongly accused of witchcraft.

    Idea 3: ADULTERY 

    Natalie's thoughts were about again how Hero is accused of adultery mixed with feminism and how back in the 1900s onwards to about 1940s women were seen as housewives expected to do all the house work and rearing the children and looking after her husband. In addition, the representation of adultery in the media is usually stereotyped as it is the men causing the upset however in Much Ado About Nothing is it infact Hero that has supposedly been 'cheating'.

    Holocaust poems

    Idea number 2

    Witch craft trials. Elsa's idea.
    Hero is accused of adultery without trial and without being able to testify her case - linking to witch craft trials and how that if you were accused of being a witch there was no way around it.

    Wednesday, 5 March 2014

    Buzzing!

    I am absolutely BUZZING for this! Brilliant ideas today, will post up the recording later