Tuesday, October 18, 2005

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Thursday, May 26, 2005

Hey complicite ;)



kieslowski.complicite@blogger.com,


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Wednesday, December 29, 2004

Emma

I though our performance came together remarkably well. The rehearsals were becoming so difficult in the week before the performance and we were all getting a bit desperate, but I think, without our knowledge we were getting really close and comfortable with each other through the challenge. I felt like I could trust everyone by the end. We certainly had created a great complicity.

- Emma



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Thursday, December 23, 2004

We pulled it off! YAY!

I think in the end we pulled off a surprisingly slick and polished
performance, atleast it looked polished! I think we did fantastically well,
really focusing during the performance. Our piece was challenging due to the
puppetry and lyrical movement, but everyone I have spoken to has only
praised it (atleast to my face!). People particularly liked the Meeting
scene and the way in which the feet moved away from the rest of the puppet
during Dancing. This is where we made the most use of the fact that puppets
can do things that human actors can't. Furthermore the variety of our piece
seemed to be enjoyed.
I'm so pleased it came together in the end, as we all worked so hard and
I'm sure lost a bit of hair to stress, and also lost a few nights sleep, but
from buzz from the performance was definately worth it.
Thankyou all for being so fantastic, love you and miss you all! Looking
forward to seeing you in the new year
Tom x

Tuesday, December 14, 2004

Post-Performance Blog

I think, personally, what we did went really well and everything and everybody gelled really well together as a company. The piece changed so much from when we started that there weren't all that many bits that lasted through to the final performance, a lot of the best work we did was found through improvisation and directors seeing certain moments and expanding on them. I think every decision we made made the performance better and was made for a clear reason and that we should all be proud of all the work we put in. The technical stuff went really well (Thanks Lucy and Charlotte) and gave the piece a lot of energy and the scene changes that we'd worked on looked good and were nice and quick. From what I've heard the puppets we're really liked by the audience, especiallly the separation and dismantling of their body parts. People got what was going on and knew that Bruno leaving Marietta behind was inevitable (sob sob) and enjoyed the visual aspect of the getting off the bus scene. I haven't heard that much negative stuff about our piece (people won't really say it to your face will they :-), but I think it was generally liked by the audience and I enjoyed performing it.

Bye everyone!
From Cath


Monday, December 13, 2004

Final Performance

Hi all,

The performance today was a huge improvement on the last rehearsal; fluid, creative and committed. A piece of work to be proud of!

Thanks for all your work over the term!

love,

Jonathan

Monday, December 06, 2004

Essay Questions



Contemporary Theatremaking
Essay Questions Autumn 2004.

Due Date: Hand in to the department office by 4pm on Monday 10th January
2005. You are reminded that you should not substantially repeat work
submitted for examination on this or any other course studied.

Word Limit: 2000 (please provide an accurate word count at the end of your
essay).

Your essay will be penalised for poor punctuation, grammar or spelling in
line with the guidelines in the student handbook. Check the following
website for appropriate referencing and bibliographical style:

(please note underscore between 'academic' and 'style').

Please also check the following website for details of the new departmental
extensions policy:




1. "Effective devised performance is as much a matter of
cultural as of aesthetic experiment". Discuss with close reference to work
you have seen/participated in during the course.

2. What are the aesthetic principles of your company/theatre
institution? Do different artistic disciplines and influences play an
important role in the company's work?

3. Discuss the relationship between body and voice, and/or body
and text, in the work of your company.

4. Discuss the relationship between the performer and the
audience in productions by your company.

5. In what way does the theatrical style of your company
intervene in its contemporary social, cultural or political context?

6. In what ways do the devising/rehearsal processes of your
company determine the artistic shape of the final performances?

7. All theatre is reliant on the codes of the performer's body.
How, then, can we define 'physical theatre'? Discuss with reference to the
company methodologies you have investigated.

8. Choose one of the following and - using evidence and
research to back up your suggestions - describe how the theatre company you
have studied might prepare a show based on it: Little Red Riding Hood; the
war in Iraq; Leonardo da Vinci's The Last Supper (1498); the possibility of
telepathy OR that of reincarnation; T S Eliot's 'The Love Song of J. Alfred
Prufrock' (1917); space travel; Miles Davis's Kind of Blue (1959); Ionesco's
The Lesson (1950); Henry Fielding's Shamela (1741).

Contact Improvisation




Hi Guys,
I just found this stuff on Contact Improvisation, which is very similar to what we are doing in the gondola scene... I found it really interesting and thought It may help some of us who arnt that confident with movements (clarifly it is not Dancing!), or if not you may find it interesting anyway!?

What we are doing is not exactly contact impro so we don't have to use all of the ideas - but just bearing in mind some of them may help..

Contact impro ideas  - intuition, flow, lifts, absorbtion,rolls, constant contact, active body, improvised, giving anf taking weight,slow growth, heightened sensitivity momentum, awareness of fear, every momet improtant, use of senses. - All of theses ideas are especially important

'No-fault dancing' anything goes. On the spot impro. Self expression and individualism.
Blancing weight between two people - once you make contact with someone you keep movement to avoid discomfort.
The body is determined in the experience of self in terms of the action and the sensation of the body.
'Practice of negation' subverts conventional expectations of dance structure and aesthetic.
Breaks down social bariers, anyone of any social class, sex, age or ability can participate - unisex choriography (good for us us it keeps us away form the idea of becoming either bruno/ marietta)

Anti costume, bagginess,. Camoflage brests, hips and musculature.

The focus is shared by the two improvisers to sustain and channel their energy.

Movement and meaning control the improvisation - therefore for us it is the meaing that we are trying to portray int the gondola scene - passion etc.

I know its late, but just a few ideas to help clarify what we are doing in the scene.

xxx

contact improvisation

Hi Guys,
I just found this stuff on Contact Improvisation, which is very similar to what we are doing in the gondola scene… I found it really interesting and thought It may help some of us who arnt that confident with movements (clarifly it is not Dancing!), or if not you may find it interesting anyway!?
What we are doing is not exactly contact impro so we don’t have to use all of the ideas - but just bearing in mind some of them may help..
Contact impro ideas - intuition, flow, lifts, absorbtion,rolls, constant contact, active body, improvised, giving anf taking weight,slow growth, heightened sensitivity momentum, awareness of fear, every momet improtant, use of senses. - All of theses ideas are especially important
'No-fault dancing' anything goes. On the spot impro. Self expression and individualism.
Blancing weight between two people - once you make contact with someone you keep movement to avoid discomfort.
The body is determined in the experience of self in terms of the action and the sensation of the body.
'Practice of negation' subverts conventional expectations of dance structure and aesthetic.
Breaks down social bariers, anyone of any social class, sex, age or ability can participate - unisex choriography (good for us us it keeps us away form the idea of becoming either bruno/ marietta)
Anti costume, bagginess,. Camoflage brests, hips and musculature.
The focus is shared by the two improvisers to sustain and channel their energy.
Movement and meaning control the improvisation - therefore for us it is the meaing that we are trying to portray int the gondola scene - passion etc.
I know its late, but just a few ideas to help clarify what we are doing in the scene.

Essay Questions

Contemporary Theatremaking
Essay Questions Autumn 2004.

Due Date: Hand in to the department office by 4pm on Monday 10th January 2005. You are reminded that you should not substantially repeat work submitted for examination on this or any other course studied.

Word Limit: 2000 (please provide an accurate word count at the end of your essay).

Your essay will be penalised for poor punctuation, grammar or spelling in line with the guidelines in the student handbook. Check the following website for appropriate referencing and bibliographical style:
http://www.rhul.ac.uk/drama/academic_style.html
(please note underscore between 'academic' and 'style'). Please also check the following website for details of the new departmental extensions policy:
http://www.rhul.ac.uk/Drama/Extensions.htm



1. "Effective devised performance is as much a matter of cultural as of aesthetic experiment". Discuss with close reference to work you have seen/participated in during the course.

2. What are the aesthetic principles of your company/theatre institution? Do different artistic disciplines and influences play an important role in the company's work?

3. Discuss the relationship between body and voice, and/or body and text, in the work of your company.

4. Discuss the relationship between the performer and the audience in productions by your company.

5. In what way does the theatrical style of your company intervene in its contemporary social, cultural or political context?

6. In what ways do the devising/rehearsal processes of your company determine the artistic shape of the final performances?

7. All theatre is reliant on the codes of the performer’s body. How, then, can we define 'physical theatre'? Discuss with reference to the company methodologies you have investigated.

8. Choose one of the following and - using evidence and research to back up your suggestions - describe how the theatre company you have studied might prepare a show based on it: Little Red Riding Hood; the war in Iraq; Leonardo da Vinci's The Last Supper (1498); the possibility of telepathy OR that of reincarnation; T S Eliot's 'The Love Song of J. Alfred Prufrock' (1917); space travel; Miles Davis’s Kind of Blue (1959); Ionesco's The Lesson (1950); Henry Fielding’s Shamela (1741).