We worked as an ensemble to create an image of the house of sweets combining vocal skills, movement and gesture to communicate the house of sweets luring in the two children. We did this from all selecting one traditional sweet that would have been around during the great famine and creating an enticing movement and phrase to go with it. We all copied each others original movement and did it in unison to look like one big house of sweets. We spoke in a range of different dynamics and used a range of different movements to portray all of the unique sweets.
We also worked as an ensemble to dramatize the description in the story which describes the cruel nature of the witch. We were split up into two groups to come up with movement and gestures to accompany the words from the script about the witch. We exaggerated some phrases such as "kill it, cook it and eat it" to let it really impact the audience.
Knowledge:
The key practitioner studied in todays work-
Matthew bourne- nutcracker- invitation to party section. The combination of Tchaikovsky's classical music, acting and dance to personify sweets such as liquorice being big headed, enticing and in a flamenco dance style to show not everyone likes them. Candy floss were very bubbly, jumpy and blonde bimbo- like to show the airy (air head) candy floss. Knickerbockerglory (a popular sundae) was very seductive and danced in a contemporary style to show how unique it is. The character Clara was reacting to all of these sweets.
The waltz of the flower wedding section where the sweets perform on the 3 tired cake and use acting, dance and gestures with music to express the idea of licking and eating everything and each other.
Understanding
The work of Matthew Bourne is influencing our exploration of the house of sweets because just like the sweets in Nutcracker, they are using their individual personality and movements to persuade Clara and mock her with the tickets. The sweets in hansel and gretel are trying to influence the two children to come in to the house of sweets through personality and movement.
Bourne's versatile actors combine facial expression, acting, movement and musical awareness to convey their intention.
To enhance my performance as the lollipop, i can focus on exaggerating my facial expressions and think about why my character is in the house, and what their intention is. This will help with characterisation and improvisation when it comes to individual movement.
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