Sunday 11 October 2009

Opium Dens


Links to film extracts involving opium dens (to be taken with a pinch of salt)...
http://www.youtube.com/watch?v=Gwnw-lsyQYA&feature=related
http://www.youtube.com/watch?v=tqrBGk-Qrqo&feature=related


Shows exactly how to do opium...
http://www.youtube.com/watch?v=WdCExHcEUP8&feature=related


Opium pipes:
An opium pipe is a pipe designed for the vaporization and inhalation of opium. True opium pipes allow for the drug to be vaporized while being heated over a special oil lamp known as an opium lamp. It is thought that this manner of "smoking" opium began in the seventeenth century when a special pipe was developed that vaporized opium instead of burning it. [1]

The configuration of the typical opium pipe consists of a long stem, a ceramic pipe-bowl, and a metal fitting, known as the "saddle", through which the pipe-bowl plugs into the pipe-stem. The pipe-bowl must be detachable from the stem due to the necessity to remove the bowl and scrape its insides clean of opium ash after several pipes have been smoked. The stems of opium pipes were usually made from bamboo, but other materials were used such as ivory, silver and jade, to name a few. Pipe-bowls were typically some type of ceramic, including Yixing clay and blue and white porcelain. Sometimes opium pipe-bowls were carved from more valuable materials such as jade.

Because of its design, the opium pipe needed an opium lamp in order to function. The lamp was as highly specialized as the pipe, and was designed to channel just the right amount of heat upon the pipe-bowl so that the opium would vaporize and allow the smoker to inhale the intoxicating vapors.




Really good quote from the Sherlock Holmes story, The Sign of Four...
Holmes justifies his recourse to recreational drugs to Watson in these words: “I find it… so transcendently stimulating and clarifying to the mind that its secondary action [i.e. whatever damage it might be doing him] is a matter of small moment… I abhor the dull routine of existence. I crave for mental exaltation.”


Thomas De Quincey's descriptions of opium from his Confessions of an English Opium-eater...
The Pleasures
"Oh! just, subtle, and might opium! that to the hearts of poor and rich alike, for the wounds that will never heal, and for 'the pangs that tempt the spirit to rebel,' bringest an assuaging balm; eloquent opium! that with thy potent rhetoric stealest away the purposes of wrath; and to the guilty man, for one night givest back the hopes of his youth, and hands washed pure of blood...."

De Quincey describes the long walks he took through the London streets under the drug's influence:
"Some of these rambles led me to great distances; for an opium-eater is too happy to observe the motions of time. And sometimes in my attempts to steer homewards, upon nautical principles, by fixing my eye on the pole-star, and seeking ambitiously for a north-west passage, instead of circumnavigating all the capes and headlands I had doubled in my outward voyage, I came suddenly upon such knotty problems of alleys, such enigmatical entries, and such sphinx's riddles of streets without thoroughfares, as must, I conceive, baffle the audacity of porters, and confound the intellects of hackney-coachmen."

Hope this helps
Charlotte xx

Freak show links

Hey all!

Here are some links about freak shows, circus in victorian times...enjoy!

http://www.nfa.dept.shef.ac.uk/history/shows/freaks.html
http://listverse.com/2009/08/29/top-10-creepy-aspects-of-victorian-life/
http://www.victorianlondon.org/entertainment/freakshows.htm
http://www.channel4.com/life/microsites/B/bornfreak/show1.html
http://www.cambriapress.com/cambriapress.cfm?template=4&bid=351

Josie xx

Saturday 10 October 2009

Marionette Movements

Links to help learn how to move as puppets:
http://www.youtube.com/watch?v=v2Y2PUjp7AY&feature=channel
http://www.youtube.com/watch?v=xgUT118dDjo&feature=related

This is amazing and so helpful
http://www.youtube.com/watch?v=ke1pEordbRk&feature=related

Charlotte xx

Friday 9 October 2009

Whatever

Hatty practicing blog

moving forward

Hey :) am very encouraged now by the extra's I've seen happening outside of sessions even just today! Don't forget your research coz you'll need it to help fill out your character histories or 'back stories' as your developing the realistic scenes.

Victorian Speech!

Everybodies gotta practise talking like a Eliza Doolittle! :D

Cockney deviated from Standard Speech mainly through pronunciation. As observed in numerous novels by Charles Dickens, the lower classes adapted to the cockney style. This includes,

•Dropping the “h’s” before words such as “head” to sound “ ‘ead.”
•Swallowing vowels such as “e” in “fowld” as opposed to “fowled.”
•Slurring vowels to produce “I believe yer” as opposed to “I believe you.” This later became native to Manchester and Liverpool, areas north of London.
•Most prominently “t’s” were replaced by “uh” to transform “butter” to “bu’er.”
•The “v’s” were replaced with “w’s” such as in “werry” as opposed to “very.”

Basically, try watching 'My Fair Lady' and pay particular attention to how Eliza speaks before Henry Higgins gets hold of her. It'd also be a good idea to watch this film as it is generally based around speech. Although the film was based in Edwardian period. The language is not very disimilar to what we would be speaking in the Victorian era.

Standard Speech
The aristocrats and gentry spoke Standard Speech yet still formed their own slang. However, this slang was not pervasive to the English language, as cockney was thought to be, but instead was primarily regional and an upper class prerogative.

•Members of the upper class concentrated on correct pronunciation.
•The term “gentleman” was thought to be too inappropriate and was “passed down to the lower classes” (Phillipps 8). Thus “ladies and gentlemen” was replaced with “ladies and men” (Phillipps 8). This replacement was justified because the word “gentleman” created an impression of unctuousness which was unfavorable. It thus became too informal of a term to use amongst such high caliber.
•Speech was very much characterized by “slow, drawling speech” in order to express an attitude of laziness and languor: an effortless attempt at perfection (Chapman 172).
•Some upper class slang replaced “r” with “w” as opposed to the v/w exchange in cockney. For example, “Gwacious Heavens!” (Chapman 172).
•Prominent upper class language is usually metaphorical, expressed with confidence and vitality to convey the upper class privilege.

Occupational Speech (Middle Class)

•Many slang terms were invented by University students, such as Oliphant’s example in Phoebe Junior. Clarence Copperhead has been “plucked” or has been expelled from Oxford. Sir Robert conveys a strong dislike to the usage of this slang, a characteristic of his upper class status
•It was said that one was going “up” to Oxford or Cambridge and going “down” to London (Phillipps 44).
•Occupations such as schoolmasters, legal positions and doctors all required slight usage of technical terms incorporated into speech. For example, in Our Mutual Friend, the narrator portrays that Mortimer Lightwood is an intelligible man of his occupation who can say the word ‘affidavit,’ yet Rogue Riderhood mispronounces it as an “Alfred David” (Dickens 12).

Therefore, language in the Victorian era was important in ranking members of classes and occupations. Language had the potential to assess and reflect upon one’s regional, educational, occupational and family background.

I found all this information here :
http://www.clas.ufl.edu/users/agunn/teaching/enl3251_spring2005/omf/KATARIA.htm
It seems quite useful!
Try it oooooout.
Tish x

Wednesday 7 October 2009

Punch and Judy Script

Just a little something i knocked up to work on. Feel free to make any alterations you wish.

Act 1, scene 1


(Enter Judy)
Judy: Oh hello children, I did not see you there, I’m Judy
Children: Hello Judy
Judy: I’ve just made this lovely warm pie for my husband Punch. Would you like to try some?
Children: Yehhh
Judy: (Judy walks forward and drops the pie) Oh woops, I seem to have dropped this lovely pie. Mr. Punch will be very angry, don’t tell him will you children?
Children: Nooo…
Judy: I said, you won’t tell him will you children?
Children: Nooo!
Judy: Very well, shhh, I’ll just go and get a mop to clean it up with
(Exit Judy, Enter Punch)
Punch: (singing) My name is Punchinello
All dressed in red and yellow
I’m such a clever fellow
Rootitootitooit!
Rootitootitooit!
How de do de? I’m Mr. Punch
Children: Hello Mr. Punch
Punch: (Looks around) Where’s my wife Judy? Judy! Judy!
Judy: What is it Mr. Punch?
Punch: Judy how 'bout a kiss? Kissy! Kissy! Kissy!
Judy: No, Mr. Punch, you can’t have a kiss
Punch: I want a kiss now! You know how angry I get if I don’t get my kissy.
Judy: I know Mr. Punch, I know. Alright then but first I must blow my nose.
(Judy blows her nose on her apron. They then kiss in an exaggerated manner, spinning in circles etc.)
Judy: That’s enough, Mr. Punch
Punch: Where’s my pie then? (Directs audience) Do you know where my pie is?
Children: Nooo..
Punch: (Points to individual person in the audience) Do you know what happened to my pie?
Charlotte: It’s on the floor
Punch: Judy! Why is my pie on the floor!?
Judy: I’m sorry Mr. Punch I dropped it by accident.
Punch: That’s a very bad thing to do Judy. (Takes mop from Judy’s hand and starts hitting her with it.)
Judy: Ow! Ow! Ow! ( Judy moves to downstage left whilst being hit by Punch and finally slides off stage)
(Enter constable, Punch hides mop behind his back)
Constable: Ello. Ello. Ello. What’s going on ‘ere then? Mr. Punch have you been hittin’ Judy again?
Punch: Nooo..
Constable: Has he been hitting Judy, children?
Chidlren: Yeess
Punch: No, I haven’t
Constable: I’m sorry Mr. Punch I’m going to have to write this down in my notebook.
Judy: (Pops up) Help me, Constable
Punch: (Hits her back down again before Constable turns around)
Children: Laugh
Judy: (Pops up again)
Children: Look Constable look!
Punch: (Hits her back down before the Constable turns around)
(Repeat)
Constable: Right that’s all written up. Don’t let it happen again please, Mr. Punch. Do you promise?
Punch: (Nods)
Constable: Cheerio then.
Judy: Ow. that wasn’t a very nice thing to do Mr. Punch. (Babie cries) Now look you’ve gone and woken the baby up, I must go and look after him.
Punch: Hehehehe (Punch laughs)
Judy: (Quickly returns and thrusts the baby into Punch’s arms) Here you are, Mr. Punch, I want you to look after the baby, I must go and make another pie. Make sure you don’t wake him.
(Exit Judy)
Punch: (Puts baby down downstage left and goes back over to downstage right) Walky, Walky, Walky. ( He looks at the baby but it doesn’t move)
Punch: Walky, walky, walky (He walks toward the baby clapping his hands, When the baby doesn't respond he does it again this time walking along the play board with his hands as if to show the baby what to do.)
Punch: Walky, walky, walky
Punch: Stupid baby! ( Punch kicks it to the other side of the stage and it starts crying)
Punch: Where’s the baby? Where’s the baby? (He picks it up) What? What a noisy baby! (He starts banging it on the stage) Quiet baby! Noisy, naughty baby!
Children: (laugh)
Judy: (From offstage) Have you woken the baby, Mr. Punch?
Punch: (Throws the baby into the crowd where one of the children catches it)
That’s the way to do it! Roottitoottitooit!
Judy: (Enter Judy looking for the baby. She looks around the side, over the edge and even up in the air. Punch is looking very sheepish at the side of the booth.)
Judy: Mr Punch. Where is the baby? What’s happened to the baby?
Punch: He was such a noisy baby
Judy: Mr. Punch, what have you done with the baby?
Punch: He went walky,walky, walky and fell out the window. [Punch uses his hands to mime the walky action along the stage.]
Punch: Where’s my pie?
Judy: It’s just here Mr. Punch (Judy reaches behind her and has another pie)
Punch: (Smashes the pie to the floor) I don’t want pie anymore. I want sausages.
Children: (laugh)
(Punch and Judy exit with Punch hitting and kicking Judy)

Punch and Judy

Here are a few links on Punch and Judy:
This Jan Svankmajer P&J show is really very creepy, creates a feeling that I think we ought to try to incorporate in ours. The beginning and ending are also very clever:
http://www.youtube.com/watch?v=Z1orgv9WKn4&feature=related

This version uses actual people so is very useful in seeing how the characters might move:
http://www.youtube.com/watch?v=yl0EP3buC3s&NR=1

Example of Punch's voice
http://www.youtube.com/watch?v=lmRkG1-4CjM&feature=related

History of Punch and Judy
http://www.youtube.com/watch?v=PnUCoDsFH4A&NR=1&feature=fvwp

A Punch and Judy Show
http://www.youtube.com/watch?v=Kk2AWrmITYc&feature=related

A typical Punch and Judy Script
http://www.punchandjudy.com/cvdcscript4/page10.html

PUNCH ORIGINALLY SYMBOLISED BRITISH POLITICAL SATIRE

Charlotte xx

Wednesday 30 September 2009

Some Victorian Murder Stories

Victorian Murder Cases:
15/12/1856
Robert Marley – London


A murder almost at the seat of government occurred on October 20th, 1856, when a robber bludgeoned to death Robert Cope, manager of a jeweller’s and “curiosity” shop in Parliament Street, London.
A passer-by was alerted when he heard moaning from inside the shop A group of men gathered on the pavement told him dismissively: “Don’t worry. It’s just a couple in there quarrelling with each other.”
Not satisfied, the passer-by went into the shop and found Robert Marley, 39, beating Mr. Cope over the head with a 14-inch long life preserver. He rushed outside shouting for help, only to find that the group of men had vanished.
Marley ran from the shop but was caught by other passers-by and was charged with assault and robbery. A fortnight later Mr Cope died from his injuries and Marley was tried at the Old Bailey for his murder.
The court was told that the murder weapon was found alongside George Canning’s statue in Parliament Square. Marley had been transported in 1853 for burglary, and had only recently returned to London.
The accused agreed that he had struck Mr. Cope during the course of the robbery, but claimed that his victim actually died of lung disease. The jury didn’t accept that, and he was hanged on Monday, December 15th, 1856, outside Newgate Prison, before “an unusually large concourse of persons.”
No one ever discovered the identities of the men on the pavement for, expecting to be executed, Marley refused to name any of his accomplices.


Victorian Murder Cases:
11/12/1876
Charles O’Donnell – Chelsea, west London


The dinner guest was in a jaunty mood. He sat down at the table apologising for his wife’s absence, but remarking how pleased he was to be among the company. As the dinner went on, the guest, Charles O’Donnell, 57, said a few more things too, and from the way the conversation was going one or two of the other guests got the impression that there might be a sinister reason why Mrs. Elizabeth O’Donnell wasn’t there that night.
The O’Donnells, they remembered, were not the average sort of people you invited to dinner. O’Donnell had recently been released from a mental asylum. After that the couple had separated for a short time, then come together again, renting a room in Rawlings Street, Chelsea.
When the dinner was over one of the guests decided to call in at Chelsea police station. What he told officers there prompted them to call on O’Donnell. They found his room splattered with blood, and his wife lying dead on the bed. She had been battered to death with a pair of tongs that still lay bloodstained on the floor.
Charles O’Donnell, the man who came to dinner and had too much to say, was tried at the Old Bailey in November 1876, and was hanged on Monday, December 11th, 1876, at Newgate Prison.

Victorian Murder Cases:
16/12/1839
William Lees – London


“I am a murderer!” declared William Lees, a 35-year-old hairdresser, when he arrived at his sister’s house in Islington. When he told her how and why, she went with him by coach to his hairdressing salon in Chapman Street, Shadwell, in east London, where he lived with his wife Elizabeth.
There, just as he had said, was Elizabeth, 30, lying dead on the shop floor in a pool of blood. Her head had been almost severed by slashes from a razor.
Lees told his sister that he struck Elizabeth first with a piece of wood when they began to quarrel. He added that he had hidden a piece of rope inside his shirt because he intended hanging himself.
He had been an alcoholic from the age of 18. When he married he became very jealous of Elizabeth – once when she stayed out all night with friends he threatened to beat out her brains.
At his trial at the Old Bailey defence witnesses said that Elizabeth was often drunk too, and would frequently hit her husband. That plea failed to save him, and he was hanged on Monday, December 16th, 1839, outside Newgate Prison, before a crowd said to be “more numerous than normal but with fewer women present.”

November 13th
13/11/1849
Frederick and Marie Manning – Bermondsy, London


John Massey, a medical student, looked aghast when his landlord asked him: “Can a man under the effects of narcotics be induced to sign cheques?” What was going on, young Massey wondered? Surely the landlord wasn’t planning on robbing someone?
Before he could think of an answer, more questions came thick and fast: “What happens to someone when they are chloroformed?” and “What happens to someone who gets shot by an air gun?”
Massey had an inkling of the purport of the questions – he knew that Marie, the wife of the landlord, Frederick Manning, was having an affair with another man, and he knew that Manning knew about the affair. He didn’t want to be around if murder was going to happen, so he gave in his notice and left.
Murder, indeed, was what Frederick Manning, 30, owner of a beer shop, had in mind. He was tired of being cuckolded by Patrick O’Connor, an elderly Irishman of some means, and it seems that Marie, 28, was tired of her lover too. So on August 9th, 1849, they invited O’Connor to dinner at their home in Bermondsey, London, and Marie shot him through the head. Manning was to say later: “I heard him moaning in the kitchen. I never liked him very much, so I finished him off with a ripping chisel.”
They buried O’Connor under the slabs of the kitchen floor, and next day Marie went to her ex-lover’s house and took away bonds, shares, money and two gold watches. Manning was sent off to sell the shares, and raised £110. Next day Marie went back to the house to collect more securities, but this time Manning’s nerve failed, and he declined to sell the shares.
Marie, who was born in Switzerland, was furious. “You wimp!” she stormed. “What do I need a man like you for?” So saying, she stormed out of the house with all the stolen money, went to Euston station and took a train to Edinburgh.
O’Connor’s relatives, meanwhile, raised a hue and cry. The police went to the murder house, and discovered the body under the kitchen slabs. Marie was arrested in Edinburgh, and her husband, who had fled to the Channel Islands, was arrested in a village near St. Helier, Jersey.
At their trial the Mannings refused to look at each other, each blaming the other for the murder. Both were found guilty, and hanged on Tuesday, November 13th, 1849, in front of a vast crowd outside Horsemonger Lane Prison. In a moving letter to The Times, Charles Dickens, who was one of the spectators, denounced the levity of the crowd and the ritual of capital punishment.
Marie Manning wore black satin for her execution – a fact that caused black satin dresses to go out of fashion.

All nabbed from the website: http://www.truecrimelibrary.com/
These stories are really handy. They have tons more on ther as well, from differant parts of the UK.

Tish x

Wednesday 23 September 2009

characters

WHEYYYY I CAN COMMENT!! thankyou tish :))
character idea list guyysss...

Pickpockets- brother and sister trying to get by without going into the workhouse.
Prostitutes- with personality. forced into the industry but afraid of it.
Painter- 'Posh lover' gets inspiration through absynthe and prostitutes.
Mickie Finn- has a stall on a market. (black market dealing)
Doctor- doctor who doesnt give a 'shit' about the patients.
Tommy Hat- Landowner of the pub and 'fancy man' (pimp) to prostitutes.
Snuff- significant yet subtle child who interlocks with all characters. (possibly a ghost) and draws images of what he witnesses but cannot speak.
Pandora- prostitute with money problems, prostitute of tomy hat.
Abby- was married in high class but has now become a prostitute due to leaving her hubby
Cynthia- sister to abby, a prostitute who is pregnant and needs to decide on an abortion or not.
Jonothan Carol- Former husband of abby, smuggles drugs from hospital.
Mary Carol- daughter of Jonothan, gets forced into drug habits.

:))
Leo

Friday 18 September 2009

Okay so we're a little way into the devising now and we all have a jist of the kind of characters we want to play. ( I don't actually have a list so if someone could post one up that would be great)

A summerisation of the ideas we've had thus far:

- The guildhall presents the oppurtunity to have two main performances to be going on at the same time, the audience split into two to watch this and then change rooms during interval ( where will be acting out the streets of London)

- Interlinking storylines, are what we're trying to work on at the moment however I think its important to carry on with research whilst this is going on so we don't steer away from the facts.
a website I've found really great and has like loads of information on everything we need is:
http://www.victorianlondon.org/

- As everyone is aware there is the devising day with that group thingy on thursday, just a reminder to bring 5 pounds

anything I've missed out?

kat

Wednesday 9 September 2009

2nd Lesson (Wednesday 9th September)

Summary of today's lesson:

Things to do: Visit Guildhall - space issues, lighting, mood (GROUP VISIT IMPORTANT)
Contact Sally Waters

Individual roles (to be decided by Friday):
Reuben - set design/performer Tish - performer/director
Josie - performer Charlie - performer
Amy - performer Charlotte - performer/director
Kat - performer/director Leo - performer
AJ - performer Callum - performer
Hatty - performer Cameron - set design/performer
Courtney - performer/director Victoria - ?


  • The Hat transforms for upper, middle and lower classes
  • Themes from Ghost Town --> area used to be thriving, descending into squalor
  • --> time periods; change in time
  • Promenade - set changes and scenery changes made easier
  • Narration? -->Landlady making audience move (FORM - practioner influence e.g. Brecht)
  • Changes in tone (contrasting themes/genre in each piece)
  • Audience arrives into piece -->dark dank atomsphere/upper class afternoon tea
  • A constant unchanging character e.g. the girl from Billy Elliot

CALLUM'S GROUP - GENRE

  • Comedy/dark --> mass contrast
  • Building process needed to create effective pathos scene
  • Audience needs an understanding of the characters to appreciate

REUBEN'S GROUP - CLASS

  • separation of classes doesn't work well e.g. one scene from each class
  • classes all present in one area e.g. kitchen staff, landlady, customers

TISH'S GROUP - TIME

  • murder mystery
  • looking back in time; periods in which stimulus stems from
  • -->2009/70s/20s-30s/Victorian

CORRUPTION OF POLITICS --> 2009 corruption present in V era still present

Steve speaks: "Powerful drama is a combination of the political and the personal, therefore the drama must mean something to the actors"

H/W: research corruption in 18th century

Charlotte

Sunday 6 September 2009

Company Rules

Here are the rules we all settled on last term, any problems?

1. If you cannot make it to the lesson, post it on the absense thread of the blog

- A VALID illness- Something that will ail your acting ability
- Something that will spread ( swine flu)
- NO HANGOVERS
- Other issues: -Family/personal issues
- transport issues (post bus times on blog)
- Post on blog your work timetables

2. each company member should be aiming to post at least 1 every 2 weeks (place name at the bottom of every post)

3. Please try not to fall out (often) Seperate personal life and work

4. MAKE SACRIFICES: remeber your education is generally more important tha your social life, right?

5. FUEL yourself, the way YOU need to be fueled. EAT. DRINK. SLEEP

6. Wear black, BLACK CLOTHES we are not goths . we are theatre geeks

Kat

Sunday 30 August 2009

Random ideas

Here are just a few random ideas i've come up with over the summer.

Firstly, I think that following the line that Charlie came up with of political corruption is a good way to go, as it links in with the stimulus e.g. the picture of london, the quotes as well as the flagellation of the black woman.

I also had an idea from the hat on the table. I thought that perhaps the hat could be a place, as in a pub or bar in which our characters meet. It can act also as a way of linking the pieces as a place for the characters to refuge. The Hat could also be either a seedy place for criminals or a gentleman's bar used by the unscrupulous gentry that cause the political corruption. Another idea was for The Hat to just be a pub but to be used by different classes, so each piece tells a story from each class; the lower, middle and upper.

That's all I've really got, see you all at school
Charlotte xx

Friday 24 July 2009

hi all, hope u r having a good holiday so far....

been listening to the songs again and came up with a few ideas...
In ghost the lyric "All the clubs have been closed down," referred to the Locarno in Coventry which was a dance hall club in 1960s. perhaps we could have something similar maybe the club (or whatever) is a place where people take refuge to get away from what ever is happening above or in the real world... kinda like Cabaret (if anyone has seen the film)
ALSO...
there could be a narrator at the beginning and end whose a bit wierd and wonderful and has lived through whatever went on?
Play the songs when audience enters and leaves and we all wonder round hall (in character) when audience enters or just stand still like stauessing bits of ghost town either at end or in the actual piece just to create a atmosphere kinda what we felt when we first went into the drama studio (creepy, horrific, curiosity etc)
i really like the idea of it being set in old victorian times with death, plague, having a good time, corruption etc it would mean great costumes, make up and lots of different characters


so they r just some random thoughts if u wanna expand on them please do! and wanna tlk to me about them if you don't get any of them

Josie xx


Wednesday 22 July 2009

Liking the ideas so far guys :) Evidently some good research going on, which as Mr. T will verify, is one of my favourites to push. Hey, don't forget the sounds and atmosphere.

Steve

Monday 20 July 2009




Haha.

Anyway, the pandora's box idea could work, since i thought it might go hand in hand with the corruption and politics idea. Saying that the government could have something called 'Project Pandora' which could be a corrupt idea thats being planned by the government or leader.

Or, branching down the fantasy route, we have the real pandora's box, or something similar, that does open and does release some sort of horror, corruption, plague, famine or whatever you want onto the city/country (hence the picture with the starving man and the man who hung himself) and there could be one man (mack the knife?) who uses this to his advantage?

Im just throwing ideas about - writing my thoughts out. Anyone want to elaborate on the ideas feel free to do so... or just disregard them completely :P

- Cam

Sunday 19 July 2009

an idea?

heyy =)
this is just a random idea that came to my head while i was thinking about all the ideas people were talking about, one of the main things that people seemed to be saying was the corruption of politics and one idea i had was to have 3 scenarios where the we how this 'corruption' has effected people in different situations. its just an idea but thought i would put it here to see if anyone can develop it furthur or something like that =)

there was talk of a pandora's box type idea which sounded cool, but i dont know where to go with that myself =(

Callum

Thursday 16 July 2009

The Guildhall




Performance dates!

These are the dates we will be working towards:

Wedsnesday 2nd of December: Dress and Tech rehearsal
Thursday 3rd of December: Evening performace
Friday 4th of December: Evening performance
Saturday 5th of December: Eveving performance

WE MUST BE COMPLETELY READY BY THE 2ND OF DECMEBER !!

We are also pondering one or two matinee performances ( Afternoon) In order to raise funds even further

The Guidhall has been booked for during the day and evening for rehearsal and performance

We are looking to raise about £500 to cover the costs of the Guildhall and so tickets prices will be approx £8.00

MR T and Kat
x

Tuesday 14 July 2009

T.S Eliot

hey guys,
i found this bit at the beginning of the Love Song of J. Alfred Prufrock

S’io credesse che mia risposta fosse
A persona che mai tornasse al mondo,
Questa fiamma staria senza piu scosse.
Ma perciocche giammai di questo fondo
Non torno vivo alcun, s’i’odo il vero,
Senza tema d’infamia ti rispondo.

roughly translated:
"If I thought my answer were given
to anyone who would ever return to the world,
this flame would stand still without moving any further.
But since never from this abyss
has anyone ever returned alive, if what I hear is true,
without fear of infamy I answer you."

i was thinking it kinda ties in with a few of our initial ideas
like death, horror, ghost towns, murder? also one we havent got which came to my mind, the afterlife?
thought you might want to know...
Aj x

Saturday 11 July 2009

this a quick video that i took to remember the atmosphere etc
Sorry its not great quality

Josie
xxxx

MACk the knife


Heres just like some info I found about the background and inspiration of the song. Note that the play which the character Macheath is taken from 'the threepenny opera' and the lyrics were first written by Bertolt Brecht, conicidence? I think not.....




'There were no mobs in Detroit in 1728, when the character we know as Mack the Knife first made his appearance. In those days, there were only about 30 families living in Fort Ponchartrain near Detroit du Herie (strait of Erie), and none of them belonged to the Purple Gang. In fact, the reference is to London, not Detroit, and to politicians more than street gangs.
The character of Macheath, later to become Mack the Knife, first appeared in The Beggar's Opera by John Gay (1685-1732). Gay was a popular English playwright and poet, a friend and collaborator of Jonathan Swift and Alexander Pope.
The Beggar's Opera is a comic ballad opera, the first of its kind, and took London theatre by storm. Gay uses lower-class criminals to satirize government and upper-class society, an idea that has been used often ever since. A century and a half later, the title characters in Gilbert and Sullivan's Pirates of Penzance note that they are more honest than "many a king on a first-class throne." And in our time, wasn't it Bob Dylan who wrote, "Steal a little and they throw you in jail; steal a lot and they make you a king?"
The main character of The Beggar's Opera is a swashbuckling thief called Macheath. He's a dashing romantic, a gentleman pickpocket, a Robin Hood type. He is polite to the people he robs, avoids violence, and shows impeccable good manners while cheating on his wife. The character is usually understood as partly a satire of Sir Robert Walpole, a leading British politician of the time.
The Beggar's Opera was a success from its first production in 1728, and continued to be performed for many years. It was the first musical play produced in colonial New York; George Washington enjoyed it.
We now skip about 200 years to post-WWI Europe and Bertolt Brecht (1898-1956), a distant cousin of this SDSTAFFer. World War I had a revolutionary impact on the arts. The avant-garde movement, in despair after the war, embraced the concept of the anti-hero. Gay's play was revived in England in 1920, and Brecht thought it could be adapted to suit the new era - who's more of an anti-hero than Macheath? So in 1927 he got a German translation and started writing Die Dreigroschenoper, "The Three Penny Opera."
Brecht worked with Kurt Weill (1900-1950) on the adaptation. He did far more than just translate Gay's play, he reworked it to reflect the decadence of the period and of the Weimar republic. Mostly, Brecht wrote or adapted the lyrics, and Weill wrote or adapted the music. Gay's eighteenth-century ballads were replaced with foxtrots and tangos. Only one of Gay's melodies remained in the new work. The play parodies operatic conventions, romantic lyricism and happy endings.
The main character is still Macheath, but Macheath transformed. He's now called Mackie Messer, AKA Mack the Knife. ("Messer" is German for knife.) Where Gay's Macheath was a gentleman thief, Brecht's Mackie is an out-and-out gangster. He's no longer the Robin Hood type, he's an underworld cutthroat, the head of a band of street robbers and muggers. He describes his activities as "business" and himself as a "businessman." Still, the character does manage to arouse some sympathy from the audience.
So, we finally get to your song, the "Ballad of Mack the Knife" (Die Moritat von Mackie Messer) from The Three Penny Opera. The song was a last-minute addition to appease the vanity of tenor Harald Paulson, who played Macheath. However, it was performed by the ballad singer, to introduce the character. The essence of the song is: "Oh, look who's coming onstage, it's Mack the Knife - a thief, murderer, arsonist, and rapist." (If these last two startle you, be patient for a couple paragraphs.)
The Brecht-Weill version premiered in Germany in 1928 and was an instant hit. Within a year, it was being performed throughout Europe, from France to Russia. Between 1928 and 1933 it was translated into 18 languages and had over 10,000 performances.
In 1933, The Three Penny Opera was first translated into English and brought to New York by Gifford Cochran and Jerrold Krimsky. There have been at least eight English translations over the years. In the 1950s, Marc Blitzstein wrote an adaptation, cleaning up "Mack the Knife" and dropping the last two stanzas about arson and rape. At the revival in New York using the Blitzstein translation, Lotte Lenya, Kurt Weill's widow, made her comeback - she had a role in the original 1928 Berlin production.
Blitzstein's sanitized adaptation is the best known version of the song in the English-speaking world, and undoubtedly the one you've heard. Louis Armstrong popularized it worldwide in 1955 with an amazing jazz beat. Bobby Darin's 1958 recording was #1 on the Billboard charts for many weeks and won a Grammy as best song. It's been sung as ballad, jazz, and rock by many of the greats, including Ella Fitzgerald and Rosemary Clooney.
In the 1970s, Joseph Papp commissioned Ralph Manheim and John Willett to do an adaptation/translation that would be "more faithful" to Brecht. So, if you were surprised at the notion of arson and rape, here's Willett's translation of the last two stanzas, omitted from the Blitzstein version:
And the ghastly fire in Soho, Seven children at a go- In the crowd stands Mack the knife, but He's not asked and doesn't know. And the child bride in her nightie, Whose assailant's still at large Violated in her slumbers- Mackie how much did you charge?
Having hit the heights with Louis Armstrong, it's only fair that we also recount the depths reached in the 1980s with the McDonald's TV jingle, "Mac Tonight." Selling Big Macs - how have the mighty fallen.
Got a question, Harmon Everett? Get behind old Lucy Brown. Oh the line forms on the right, dear Now that Cecil's back in town.
— Songbird'



Kat

Friday 10 July 2009

"No! I am not Prince Hamlet, nor was meant to be."

This is from a poem I have found called 'The Love Song of J. Alfred Prufrock' by T.S. Eliot (1888-1965) And here is a link to the page (http://www.coldbacon.com/poems/eliot.html.)


"Cursing, they scurry from the sinking ship friend turns to foe, employee snubs his boss"

This is a line from Bertolt Brecht's (the practitioner) 'The Resistable Rise of Arturo Ui' which chronicles the rise of Arturo Ui, a fictional '30s gangster. (Wikipedia page: http://en.wikipedia.org/wiki/The_Resistible_Rise_of_Arturo_Ui)


"Morals go overboard in times of crisis"

This is taken from the same play that the above quote is from several words later.


"All loyalty is gone! Money is short, but loyalty is shorter"

And the same with this quote, it originates from the same play as the two above quotes, but is actually located above the last 2.


"Politic, cautious and meticulous; Full of high sentence but a bit obtuse"


This is actually located within the T.S. Eliot poem 'The Love Song of J. Alfred Prufrock' and at the end of the verse where the first quote is located.




Judging by where the quotes originate from I have a feeling Mr T and Steve want us to use Brectian style theatre in the play and im not quite sure about T.S. Eliot's poems, maybe he wants us to take the quotes at face value or he wants us to research him closer.

Anyway, take what you want from it guys, any questions comment underneath the blog and put your name at the end and it will be easier than talking at school or through facebook.

Cheers,

Cam x

Few notes

hey guys well done on finding the blog (as I would have imagined you'd done having read this)
feel free t0 upload pictures, songs, ideas, comments etc. anything you want but just remember to leave your name so we know who to thank :)
yours truthfully

AJ and Kat

Ghost Town

This town is coming like a ghost town

All the clubs have been closed down

Bands won't play no more

Too much fighting on the dance floor


Do you remember the good old days before the ghost town?

Why must youth fight against themselves?

Government leaving youth on the shelf


This place (town) is coming like a ghost town

No job can be found in this country

Can't go on no more

The people getting angry


This town is coming like a ghost town

repeats

Initial Ideas

Pandora's box

Disease/famine/poverty

Black and white

Government/polotics (corruption)

Slavery

Hiding the truth - Mack The Knife/Ghost Town

Dark magic

Morality

Crisis/chaos

Putrid lifestyle

Timeline aspects

Jack the ripper

Murder

Hat

Trapped (bars/net) prison

Song lyrics (underlying meaning)

Ghost Town - scar/reggae - skinhead - gang culture

Night time/Darkness

Relationships breaking down (friendships)

HORROR

Different groups, different time period?

Smoke

Mack The Knife

Mac The Knife lyrics

Oh the shark has pretty teeth dear
And he shows them pearly white
Just a jackknife has Macheath dear
And he keeps them out of sight

When the shark bites with his teeth dear
Scarlet billows start to spread
Fancy gloves though wears Macheath dear
So theres not a trace of red

On the side walk Sunday morning
Lies a body oozing life
Someone sneakin round the corner
Is that someone Mack the Knife

From a tugboat bu the river
A cement bags droppin down
The cement just for the weight dear
Bet ya Mackies back in town

Louie Miller disappeared dear
After drawing out his cash
And Macheath spends like a sailor
did our boy do something rash

Suky Tawdry, Jenny Diver
Polly Peahum, Lucy Brown
Oh the line forms on the right dears
Now that Mackies back in town

Oh the shark has pretty teeth dear
And he shows them pearly white
Just a jackknife has Macheath dear
And he keeps it out of sight
Just a jackknife has Macheath dear
And he keeps it our of sight

Initial Stimulus

"No! i am not Price Hamlet, nor was meant to be"


"Cursing, they scurry from the sinking ship friend turns to foe, employee snubs his boss"


"Morals go overboard in times of crisis"


"All loyalty is gone!Money is short, but loyalty is shorter"


"Politic, cautious and meticulous; Full of high sentence but a bit obtuse"