Unit 3 Mark Making

Photography by: Marina Bussandri

Here I experimented using a range of materials: ink, cardboard, pens, masking tape, pencil, a ruler, scalpel and string. To start with I used the clean straight lines that we have associated with alpha and the technological futuristic age. Following that I incorporated messier techniques like, layering and autonomy, in order to create markings and patterns which create confusion and mix the marks that we have defined alpha and omega with. Personally i found the most visually interesting experiments the ones which included mixed media (eg. masking tape and ink). These examples show the conflict of one material trying to control the outcome and the other going against it leaving an experiment which is not 'perfectly' clean.

Twelfth Night at The Apollo

Photography by: Marina Bussandri

This production of Twelfth Night was on at the Apollo theatre in London and I saw it in February. 

Overall the show was incredibly enjoyable and both funny and moving. It was done with a traditional all male cast, as in Victorian times. 

Men playing women: Although the play was authentic in terms of a Shakespearean portrayal (all male cast) it consequently lacked realism. However because the acting was convincing, in fact throughout most of the play, I found myself forgetting that they weren't women. Instead they just seemed liked animated characters, mostly due to the female voices they put on which were overly 'feminine'. Changing the pitch of their voice as well as inhabiting female mannerisms and movements made them become immediately more credible. 

The costumes were authentic, credible and consequently validated the performance. The costumes also aided in distinguishing the male actors playing female roles with the male actors playing male roles. The restriction of movement as a result of the elaborate female costumes helped the male actors to move in a feminine and more elegant way. Hair and make-up also added to the richer context and visual feast of this show. Matching wigs and costumes for the characters of Viola and Sebastian definitely added to the illusion in the play as well as helping the audience to follow the plot. 

The stage crew, although in costume whilst moving props and parts of the set on and off of the stage, still were distracting. Their movements were sharp, deliberate, purposeful, blank faces. Consequently there was a clear distinction between the play's characters and set crew which could be a good or bad thing. By dressing them in a sort of period costume it gave the impression that the director wanted them to blend in however they were still noticeable and distracting. It is interesting to think about whether moving set on and off stage would have been more effective if the stage crew acted like background artist. 

The sides of the stage had about 4-6 rows of audience (about 6-8 people per row). They were seated in wooden 'stalls' which matched the style and materials used for the rest of the set. These audience members aided the comedy aspect as every now and again characters interacted with them. For example, asking the audience member for alcohol and cheers-ing with them. As a result of the audience on stage the illusion of a realistic play, the feeling of spying on these scenes, as if they were really happening, was definitely affected. Almost like in a traverse stage you can see the other audience members, bringing you back to the reality of where you are (the theatre) and breaking the story you are watching. On the other hand, the enjoyment of theatre does not have to make you 'escape' from reality it can be just as enjoyable to experience a play, knowing that's what you are doing. 

Overall I really enjoyed this production of Twelfth Night. Mark Rylance's performance as Olivia was just incredible, truly inspiring, and had me laughing from beginning to end. The whole show was well choreographed/ blocked and incredibly funny. 

"The Judas Kiss"

Oscar Wilde (Everett) holding Bosie (fox)
Photograph via: http://www.theartsdesk.com/
theatre/judas-kiss-duke-yorks-theatre

"The Judas Kiss" by David Hare (The Duke of York's Theatre) is a tale that tells of love, passion, morality, friendship, society and aristocracy in the context of Oscar Wilde's life. After his lover's, Bosie's, mother files a lawsuit against him he is left no choice but to flee the country where he decides to reside in Naples with his lover.
I was lucky enough to have seen the play while Rupert Everett was playing Oscar Wilde. He gave a heartfelt and gripping performance, in which he embodied the character of Wilde immaculately. His mannerisms, stature, posture, look were just utter perfection; so believable that it felt like it was Oscar Wilde himself. His  relaxed attitude to life was executed perfectly, with moments seeming frivolous and others emphasizing the importance of love and following one's heart. The first act all seems dandy and then the treachery of Bosie, played by Freddie Fox, towards Wilde is heart wrenching. Real empathy is achieved in this production. Freddie Fox also gave a great performance, his look was aristocratic his mannerisms and voice believable, albeit at some point a little mumbled.
The staging of the production I was less than impressed with. In the first act, there was a bench/ chaise lounge placed against a wall which was used many times, (eg. Bosie sits and talks whilst on it, Wilde takes a nap lying down), It was behind a table and therefore the view was incredibly limited. The blocking was a little shaky too. There is a franticness and panic in the first act as the police are searching for Wilde, they are hiding out in a hotel, trains are leaving and Wilde is running out of time to flee. However, much the blocking of the characters walking up and down the stage was definitely lost in translation. Instead of reflecting the panic of the characters it just appeared messy and was frustrating for me as an audience member to watch.
The costumes were great, Oscar Wilde's particularly emblematic in the first half in his love of luxury and opulence, and his more humble situation in the second. Even when Bosie has wrapped the bed sheet around his waste in the second half, it seems believable and has a toga like quality to it. It still hung from his body in the right way and emphasize the betrayal against Wilde, by reminding the audience of his constant relations with younger men in comparison to Wilde.
The set design was far from perfect. I personally found the hotel room, which had an enormous brocade velvet panel of fabric billowed against the wall did not work. I know it is written in the details of the introduction to the book but it was not executed effectively and this really let the performance down for me. It was distracting.  The hotel room in Act One was on a diagonal and I found this to be ineffective as well. There was a table downstage and the characters who at times sat behind it were lost. Sight lines were definitely an issue. On a positive note the lighting was very good. There was a window in the wall of the set, meant to be a hotel room window which had a lighting behind which really embodied daylight realistically.
The Second act was a good embodiment of the simplistic lifestyle Wilde was living, in comparison to the lavish and extravagant in Act One but the setup I once again did not like. The lighting however was once again very effective in this part of the play
Overall I found the performance enjoyable mainly as a result of the performance given by Ruper
t Evertt. The play lacked in some areas and was slow at times but definitely worth the visit.

Unit 2, Part 1 Feedback

Storyboarding in Film- Core Skills

Rule of 3: dividers in the frame, to do with where the eye is drawn to, composition, grid of 3x3.

20% Rule: Move camera at least 20%. (Like Walter Murch explains with the bees- move hive 20% away bees heave hive as don't recognize, but more than 20 they know it is theirs). Walter Murch, "In the blink of an eye"- 2001. We are organic beings and have a heartbeat and therefore natural rhythm. If we experience tension for example we blink more/ faster than when we're calm at a steady heart rate.

30 Degree Rule: Same as 20% but with space, move camera angle at least 30 degrees.

180 Degree Rule: Make an arbitrary line that splits the space, consequently all of the scene would be shot from the same spacial direction. You can break the rule in 2 ways (1, show movement of camera and changing line or 2, mistakes- cutaways).

SHOT TYPES
Outside:   - EXT
Interior:   - INT
Close Up:   - C / U 
Extreme Close Up:   - E / C / U
Medium Shot:   - M / S
Long Shot:   - L / S
Long Long Shot:   - L / L / S


CAMERA MOVES
Zoom (Change of focal length)
Pan (Fixed axis camera move)
Track (Camera travels)
Handheld
Steadycam
Glidecam
Tripod
Tilt

Why move the camera?
It can follow action, adds visual interest, adds dramatic impact, provide new subject of interest, provide a change of viewpoint, interpret an aspect of the narrative.

Effects of camera movement?
Duration, pace, shot has own interral pattern of development, can create pattern across film, emphasize a cut 3 dimensional space, spatial effects through temporal continuity.

Unit 3, Part One Costume Ideas

These were my costume ideas for the Alpha character for our unit 3, part one video. The structure and geometric are alpha with the earth tones of the omega character. I think they work well but would have to think about fabrics that would allow for movement; possibly a jersey fabric.

Costume Core Skills- Glossary

ARMSCYE - Armhole.

BUST POINT - The position of the apex of the bust bulge, the nipple.

NOTCH - A tiny "V" snipped into the edge of the seam allowance exactly at 90 degrees opposite a balance mark.

DART- A stitched-in triangular fold in the fabric, used to shape the garment over a bulge, or control fullness.

DESIGN LINE - A line drawn on the wrapped shape to indicate the design of the garment.

EASE - 'Space' included in the pattern which allows the garment to curve around the outside of the body (or over other clothes).

FULLNESS - 'Space' included in the pattern which gives the designed shape/ silhouette of the garment.

BALANCE MARK - A mark on a pattern to indicate an important point along a seam (where a dart terminates, where another seam meets, sections of a curve etc.)

GRAIN LINE - A long arrow drawn on each pattern piece indicating the direction of the lengthwise grain (warp threads in a woven fabric, wales in jersey) along which the piece is to be cut. (The garment will not make up or hang properly if this is ignored).

BASIC BLOCK PATTERN - A flat pattern which is a map of the body; used as a basis from which to make patterns for garments.

WORKING PATTERN - One of possibly many generations of intermediate patterns, traced one from another, used while developing the pattern for the garment.

FINSIHED PATTERN - The final pattern to be used to cut the fabric, marked with all the necessary information. It may include seam allowances or it may be "net".

SEAM ALLOWANCE - Extra fabric, beyond the edge of the pattern piece when it is laid on the fabric from which the garment is to be cut, which will be used to stitch the seam. The seam allowance is the fabric between the stitching line and the cutting line. (Costume usually 2.5cm)

SEAM - A join between separately cut sections of the garment/ pieces of fabric.