tag:blogger.com,1999:blog-20943290796514908372024-03-21T12:56:30.992-06:00Stage Movement The class blog for Metro State's Stage Movement class.Prof. Jennhttp://www.blogger.com/profile/13846413116997172413noreply@blogger.comBlogger328125tag:blogger.com,1999:blog-2094329079651490837.post-6505809445245233472017-05-12T22:08:00.002-06:002017-05-12T22:08:50.766-06:00Movement ObservationAlison Karner<br />
Stage Movement<br />
Jenn Zuko<br />
Movement Observation<br />
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For my movement observation I attended Metro's production of <i>The American Clock</i>. This show provided most of the actors with the challenge of creating multiple characters. This primarily had to be done with the use of physicality and the voice as the actors spent most of their time onstage and costume changes had to be kept simple and to a minimum. Overall, I was very impressed with how well all of the actors achieved this and didn't have much trouble at all deciphering when the actors were playing a different characters.<br />
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I liked Toby's physical development of the Grandpa character. I can only imagine how difficult it was for him to maintain the posture, but combined with his voice work, he was nearly unrecognizable. I also really liked Jacob Thorne's use of physicality in the character of Theodore Quinn. I thought that he had really great energy and truly embraced the vaudeville idea with this character as every movement was big and presentational. Lastly, I loved the physical transformation of Cassie's character as the play went on. Cassie used her physicality to indicate both age as time went on as well as status when the family lost more and more money. In the beginning, her posture was very strong and tall, and by the end her posture was a little more relaxed and weak than it was, indicating the fragile state her character ended up in. <br />
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Another challenge presented to the actors was navigating the ramps used in the set, as it made walking up and down them, especially the women in heels. I noticed that almost every woman had to move slower and with more calculated steps, but not once did it interfere with the flow of the scenes.<br />
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This play was so moving, and it was obvious how invested all of the actors were in making it successful. The attention to detail when it came to physicality was spectacular and nobody seemed out of place for the time period. I am always so impressed with the work my classmates do and this show was no exception.Alisonhttp://www.blogger.com/profile/14368961193034103756noreply@blogger.com0tag:blogger.com,1999:blog-2094329079651490837.post-84329239362800824342017-05-08T16:29:00.001-06:002017-05-08T16:29:05.241-06:00Stage Movement Review<div data-contents="true">
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<span data-offset-key="cbcfv-0-0"><span data-text="true">I saw Metropolitan State University of Denver’s Production of Once Upon a Mattress. I am not a huge fan of old school musicals but that being said I did enjoy the physical movements of the ensemble of the cast and one particular character King Sextimus played by Michael Rossitto. </span></span></div>
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<span data-offset-key="e4617-0-0"><span data-text="true">A brief summary of the play it is inspired by the fairy tale Princess and the Pea and the basic premise is everyone wants to have sex but they can’t because of Queen Aggravain rule that no one can have sex until her son Prince Dauntless finds a suitable princess that can pass one of the Queens tests. Then a possible candidate arrives going by the name Princess Winnifred but will she pass the Queens test? Will find about it by singing about it hilarity ensues and everyone gets to bone in the end except the queen. Yay boning!! </span></span></div>
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<span data-offset-key="8168q-0-0"><span data-text="true">So the ensemble had really great movement throughout all the choreography they all did a really great job and based on the each of the characters movements it was mainly buoyancy with some radiance energy to keep the pacing up and not give the audience too much to rest because most of the comedy is rapid fire and not a lot of slow jokes. The famous one I can remember clearly is when they were doing a dance in an attempt to tire out Princess Winnifred with the song “Spanish Panic.” I was impressed that each ensemble member had a different way of showing that they were getting tired through their body. It added a lot of layers in a song that probably didn’t need it but it was a nice touch. </span></span></div>
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<span data-offset-key="f2dsk-0-0"><span data-text="true">Now let me talk about King Sextiumus. His character is interesting because until the end of the play he doesn’t talk because of a curse that happened to him before the play started. So he had to complete reliance on his body and facial expressions. So he used a lot of clowning to help the performance come through. He did a really good job of taking extra steps to show us what he was trying to communicate. You can tell he was a pervert but a good hearted one because he wanted to help Dauntless and end this nightmare his wife has put the kingdom through. One scene I remember in particular was when he had to use his body without being too overly crude explaining to his son what sex is and where babies work. It was hilarious seeing his patience slowly lose but trying to keep it PG even though it was clear his song was having trouble getting it. Then when he finally gets the payoff and relief he got in his face was well earned and made the whole moment have that much more impact. </span></span></div>
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<span data-offset-key="e267f-0-0"><span data-text="true">Not my favorite musical or play by any means but I did enjoy the care that went into. As someone who would say they are an amateur comedy critic having that kind of commitment to the body and through the choreography can make a night and difference and can make even a show I don’t particularly like still very enjoyable. So I applaud the people and their efforts on this play!</span></span></div>
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Anonymoushttp://www.blogger.com/profile/02030252053664820592noreply@blogger.com0tag:blogger.com,1999:blog-2094329079651490837.post-68916215587681562842017-05-05T15:36:00.002-06:002017-05-05T15:36:39.756-06:00American Clock Movement analysis<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Octavio Ledezma<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">April 26, 2017<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Stage
movement observation<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">I
saw the production American clock recently. I honestly thought it was going to
be boring but wit was a really good show. I paid attention closely to the
movement on stage and was impressed with the movement. There were a lot of
aspects of this play that I was impressed with. This play was a little
depressing to show how many struggled and it can happen again any time soon or
later. I was watching everyone in this production but there were some actors
who just caught my attention more than others.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"> Tobey’s character of grandpa was so believable
based on the way he was moving in the stage. He did have the spatial awareness.
Another character who was really good with stage movement. He was energetic
portraying a young person. But as his life time went on his movement really matching
his age. For example, when he had his college degree he had a slight stiffness
that most people do get in their twenties and it really showed. The movement of
max was also one to talk about as well. I could really tell that he was an
investor and one to hide his money in his shoe. This show was so well done on
the play it said that they were playing multiple parts. Everyone did good at
the movement of characters that they were portraying. When everyone was broke,
I could see the body language of depression and they move like they were
homeless and the fainting of some of the characters really showed the excellent
portrayal. I also like the scene when they were at a restraint everyone seemed
to move like they were having conversations with gesturing to the person that
they were talking to. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The
other was good to when she was having a conversation with her son and she could
tell lies well to comfort her son and hide the truth of what is going on. Her
concern for the child was great awareness and great sense of security for the
child. The spatial awareness was excellent when she was talking to the grandpa and
the child so it seemed well put together.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">This
performance was very well done and I can tell that there was a lot of hard work
put in this production. The movement among the actors and the characters were
well done and well thought out. The
acting was well done and the actors stayed on que the entire time and if there
were mistakes I wouldn’t be able to tell because the flow was well done. The
actors did their warm ups well and it shows from the excellent job that
everyone did. Timing is everything and I saw the timing among the actors was
perfect and well done without being too overdone. The energy was a bit potent and a little bouency.<o:p></o:p></span></div>
Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-2094329079651490837.post-36277657791753557012017-05-05T10:41:00.003-06:002017-05-05T10:41:51.125-06:00Clown-lympics <br />
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Our group did a three legged race. It was a lot of fun to explore and goof around with different movements. It really showed and enhanced how important physicality can be when there isn't a script to use to tell a story. We broke up into partners and tried to use similar movements but in different ways to show the dichotomy of the two teams. We enjoyed putting together something so different, and playing with very large movements and speeds to tell out story. Anonymoushttp://www.blogger.com/profile/15464991789073119199noreply@blogger.com0tag:blogger.com,1999:blog-2094329079651490837.post-80907916707308362992017-05-05T10:39:00.002-06:002017-05-05T10:40:17.655-06:00N. Carlson Movement Analysis - An American in Paris<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Baskerville; font-size: 13px; line-height: normal;">
<span style="font-kerning: none;">Nicole Carlson</span></div>
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<span style="font-kerning: none;">Stage Movement</span></div>
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<span style="font-kerning: none;">Jenn Zuko</span></div>
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<span style="font-kerning: none;">March 22, 2017</span></div>
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<span style="font-kerning: none;">An American in Paris</span></div>
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<span style="font-kerning: none;"><i>American in Paris </i>was performed to rave reviews from numerous critics in Denver and from the audiences as well. It was a </span><span style="-webkit-text-stroke-width: initial;">beautifully put together show in every way.</span><span style="-webkit-text-stroke-width: initial;"> </span><span style="-webkit-text-stroke-width: initial;">Because this show is an extremely intense dance show, it was a perfect show to analyze movement.</span><span style="-webkit-text-stroke-width: initial;"> </span><span style="-webkit-text-stroke-width: initial;">I was pleasantly surprised to see that the leads were extremely strong in not just dance but also in their character movement choices. </span><span style="-webkit-text-stroke-width: initial;"> </span></div>
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<span style="font-kerning: none;">From the very first scene where we were introduced to Adam Hochberg played by Etai Benson we immediately recognized that he used potency to create his character. In the musical, Hochberg had an injured leg from World War II and even the light amount of dancing he did seemed heavy. Watching him move made me feel exhausted for him. He drug his leg around throughout the entire show and never faltered. I kept waiting for him to forget about it, especially in the dance scenes but he never did. He kept it consistent and believable. He also led his movement from his waist. Which fit well with his injury.<i> </i></span></div>
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<span style="font-kerning: none;">Most of the characters in this play were very upright. They had excellent posture. Of course, the majority of the actors in this play are extremely strong dancers so their physical body presence is excellent. Dancers seem to have a natural ability to express emotion with their bodies and have it read perfectly from the audience. Most of the actors in this show were also using buoyancy. They were light on their feet as if they were floating across the stage. All of the movement was smooth, light, and had a sense of freedom about it. </span></div>
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<span style="font-kerning: none;">During one part of the show Lise Dassin, played by Sara Esty, jumped into Jerry Mulligan’s arms, played by Ryan Steele. When she did this she looked literally light as a feather. Her buoyancy was impeccable and Steele made it look like she weighed nothing and they were floating on a cloud. Here again is the factor of buoyancy. It was amazing for Steele to not show the heaviness of Esty jumping into his arms. </span></div>
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<span style="font-kerning: none;">The use of stillness in this show was excellent. One particular area that struck me was the fishermen that sat on a wall. They were still through an entire scene and seemed to be part of the scenery but midway through the scene they rose from the wall and left and it really worked nicely. Dancers seem to have an upper hand on stillness since it is used in dance. Another part that stillness really impacted the audience was when everyone found out that Lise and Henri were engaged. At that moment, the five main actors: Adam, Henri, Lise, Milo, and Jerry all came to the front of the stage and had a moment alone. They were spread out evenly but the audience knew that they were each having a moment alone. We knew that they were all unhappy with the choices that had been made and it was a very powerful moment. </span></div>
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<span style="font-kerning: none;">The use of stage space was excellent. This is one of the first shows I have seen at the Buelle that used the entire stage in specific parts. Of course they were dancing, but it worked. There was not a spot on the stage that the two dancers Jerry and Lise did not touch. That was also apparent when they had no sets on stage and they danced all the way back to the sky drop. </span></div>
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<span style="font-kerning: none;">Milo, the American female in the show had a very upright, tight posture. She was portraying a wealthy American aristocrat and she was very rigid with her movements. It worked well and fit perfectly with her character.</span></div>
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<span style="font-kerning: none;">Jerry used a Captain Kirk and it was so smooth and not a sound was heard. It was more of a dancing captain kirk than a fall but it was still well done. There was one fight scene where Jerry hit Henri and knocked him down. That fight choreography was a little slow but looked realistic with Henri falling onto his back exactly as we have learned. His head also did not touch the floor. Jerry also knocks down the injured Adam and he does a side fall.</span></div>
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<span style="font-kerning: none;">Literally everything in this show was a dance. The set changes were done with dancing or smooth movement and I absolutely loved it. It turned the most complex set changes into a scene and everything into a dance. The set changes took on new meaning and it was beautifully done. The actors would use the set pieces as part of their ballet. It was inventive and fresh.</span></div>
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<span style="font-kerning: none;">It was obvious that the Director was also the Choreographer because everything was so smooth and clear. The pictures painted by the cast in each scene were quite beautiful. I have never seen a show so together and I think that having the Director and Choreographer as the same person really took that to a new level. The blocking, dancing, set changes, and stillness all joined together to form a beautiful piece that was artful. So much of this show was utilizing the actors and dancers bodies and their movement to give us perspective and make us feel something and it worked quite well.</span></div>
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The Mother of Charactershttp://www.blogger.com/profile/09489893827367578032noreply@blogger.com0tag:blogger.com,1999:blog-2094329079651490837.post-25761057425951697762017-05-05T09:54:00.001-06:002017-05-05T09:54:15.409-06:00Stage movement Review<div class="MsoNormal" style="line-height: 200%;">
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<span style="font-size: 12.0pt; line-height: 200%;">Fabian Vazquez<o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 200%;">Stage Movement <o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 200%;">Jenn Zuko <o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 200%;">Once Upon A Mattress<o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 200%;">The Use of Physical Humor<o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 200%;"> When it
comes to the productions by Metropolitan State University of Denver there are several
things which are done well and some which in certain aspects could use
improvement. On March 4<sup>th,</sup> I was able to see the production of <i>Once Upon A Mattress </i>by Mary Rodgers and
Marshall Barer and directed by Marilyn A. Hetzel. The story follow a kingdom in
distress due to the ridiculous laws set in place by Queen Aggravain to
safeguard her clueless son Prince Dauntless. The retelling of this fantastic
classical comedy musical was executed amazingly with a number of different
physical pieces interjected in this production of <i>Once Upon A Mattress. </i>The musical itself already lends well to the
many movement techniques which can be implemented into it due to the simple
nature of how it was written, and MSU Denver was able to transition this on to
the stage.<i> </i>There was a lot of
different clowning elements put into many different scenes, the dexterity and stamina
of the actors, and the usage of this movement to develop characters and move
the story further along.<o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 200%;"> The usage of
clowning techniques and many other physical comedic effects in this production
of <i>Once Upon A Mattress </i>was used well
and made for some great moments in the show. The antics of King Sextimus, the
Minstrel, and the Jester, played by Michael Rossitto, Bryan Anderson, and Andy
Nuanhngam respectively, were when we saw many of these elements come into play and
with their interactions with other characters. During the scenes in which it
had been the three of them, the usage of pantomime was very strong and lent
well to the story, due to the curse put upon King Sextimus of being mute.
Another character in which physical comedy was used successfully was with
Princess Winnifred, played by Kinsey Scholl, in which there were moments
throughout the play that involved with the fleshing out of her character as a
tomboy. One particular moment with this character which had quite a bit of
physical humor, was the back and forth playing between her and the Nightingale of
Samarkand, played by Brianna Herman, in which they had been on top of the huge
bed of mattresses. The flapping of the wings and fighting between the two
characters as Princess Winnifred tried to sleep made for an enjoyable moment. <o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 200%;"> When it came to all the actors, there was a
level of physical shape to be able to carry out the many physical feats in the
show while still singing and acting. The whole ensemble had been able to carry
a lot of the musical numbers due to this fact. During the number <i>The Song of Love </i>the many ways in which
the spelling of the Fred was implemented there was the need for actors which
had to be quick with their movements and be present. There was the number of
the <i>Spanish Panic </i>which had most
characters having to dance quicker and quicker as one by one each couple
tumbled away until all who were left was Prince Dauntless and Princess
Winnifred. During this number, the actors seemed to have good control of their
gravity and bodies, allowing for a safe approach to what could have been a chaotic
and cataphoric number, but could just as easily made for a much more boring
piece if not for the level of physical control. The movement of some moments in
which characters fell into moats, simple fell to their knees, or fell victim to
their disadvantages, the control of their physicality helped greatly in the
performance to make these pieces more realistic or to gain the desired effect. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-size: 12.0pt; line-height: 200%;"> The musical
pieces were all well-choregraphed along with the other elements already implemented
and also the movement lending itself to the story. The script itself and the
significant plot points of the story already have a large portion of this
physicality built into it, and this production could use these elements successfully.
King Sextimus being a mute throughout the musical and having this as one of the
main obstacles for the characters to overcome is a built in physical trope,
making the character pantomime in order to communicate. The way these scenes
had been created on stage for this production took on what seemed to be a
common approach, but with the actors that had been in command of the movement
it made for an overall better piece. Movement was also used to establish many
characters, and to flesh out who there were and what they meant to the story as
a whole. Their modes of movement and presence on stage made for interesting stories
on their own with each being able to live in the body of their character,
instead of simply letting the performance being one dimensional and simple use
their everyday way of moving.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-size: 12.0pt; line-height: 200%;"> This
production of <i>Once Upon a Mattress </i>put
on my MSU Denver’s theatre Department was a well-crafted one, which also did
well in terms of movement. The use of clowning
and physical humor was played to the show, the control that actors had over
their physicality showed, and the ability to choreograph story and create
characters through movement all came through in the performance. <o:p></o:p></span></div>
Fabianhttp://www.blogger.com/profile/10999840193830920574noreply@blogger.com0tag:blogger.com,1999:blog-2094329079651490837.post-18699423035427980752017-04-14T00:18:00.004-06:002017-04-14T00:18:50.812-06:00ClownlympicsMy group did the Clownlympic event of Frisbee Golf. We started out backstage, then arrived at the park and squeezed out of our obviously tiny clown car, upstage center. We then picked teams and divided the stage a bit. Even threw it to Fabian, who threw it back but was intercepted by Amanda who threw it to me. I then used a straddle jump to catch it, then tossed it off to Octavio and ended in a 180 degree jump. Then it was thrown to Toby, who didn't catch it, which made Evan and I go for it at the same time. I used leaps to reach the frisbee and then an assemble, which also knocks Evan out. Then I threw it to Octavio, but was knocked over into a side fall by Fabian. After everyone else had been knocked out of the game, Toby discovers he is the last clown standing; which made him do a celebration combo of moves and then leave us behind.<br />
<br />
The other two groups explored three-legged races and curling, which we were able to accompany with different instruments. Each group employed several jumps, rolls and traveling moves; with each having a unique way to communicate their event and create a cohesive story.Anonymoushttp://www.blogger.com/profile/08320551008746372148noreply@blogger.com0tag:blogger.com,1999:blog-2094329079651490837.post-12998888181568293292017-04-13T21:48:00.001-06:002017-04-13T21:48:59.614-06:00clownlympicsOur clownlyimpics was ultimate Frisbee. Toby came up with an idea that we should be back stage go forward and then back to simulate a car parking. We then get out and try to push each other out of the way. Then the teams are chosen. Once the teams are chosen the heat begins the Frisbee is tossed to everyone except Toby who avoids it. Then we all get it and everyone knocks each other down and then we all eventually get up when Toby takes off and run after the car.<br />
<br />
Movement involved: pike jump, straddle, 360, walking, running, side fall, back fall,chase, sissone, ninja, straight jump<br />
<br />
People involved: Octavio, Cassie, Fabian, Amanda, Toby, and Evan.Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-2094329079651490837.post-23717517686996358002017-04-13T20:56:00.000-06:002017-04-13T20:56:48.076-06:00Clownlympics!For our event, my team decided to do curling as it provided a way to incorporate our locomotor movements and some silly shenanigans! I personally used cartwheeling, chassé, running, a straight jump, and a straddle jump. My character was very competitive and came up with the idea to cheat by carrying our stone (Emily) to win the game. This unit was a lot of fun for me and I loved watching everyone's creativity with their events!Alisonhttp://www.blogger.com/profile/14368961193034103756noreply@blogger.com0tag:blogger.com,1999:blog-2094329079651490837.post-2170680740130235962017-04-12T10:08:00.001-06:002017-04-12T10:08:11.717-06:00Our clown olympics bit was a three legged race. My specific character was the nervous, scared clown. I was terrified of the competitors, the gun shot, even of winning and tried to hold Miles back. Miles and I complimented each other because he was the confident brave clown who wanted to win and basically drug me along. I wasn't even sure I wanted to be at the race and I especially felt that way when Kelcee and Will showed up.<br />
<br />
In our bit Miles and I did straddle, ninja, pike, straight, 180 degree, Gallop, Walk, Assemble, Sissone, Side Fall, and a Side Roll.<br />
<br />The Mother of Charactershttp://www.blogger.com/profile/09489893827367578032noreply@blogger.com0tag:blogger.com,1999:blog-2094329079651490837.post-49833061073482747662017-04-11T12:57:00.001-06:002017-04-11T12:57:38.231-06:00Reading responses from start of semester to now<br />
<span style="font-kerning: none;">
<br />
<div class="MsoNormal" style="line-height: 200%; margin: 0in 0in 8pt;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Chapter
4- Body Energizers</span></b></div>
<div class="MsoNormal" style="line-height: 200%; margin: 0in 0in 8pt;">
<span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">I really enjoy using the
body energies to help create and enhance characters on stage. I often find
myself drawn to radiance and potency, as I enjoy playing more serious and intense
characters. I have also found buoyancy to come I handy though. For example, I
recently play Lady Larkin in Once Upon a Mattress and I felt like she was very
boyant and light most of the time, or at least she tried to pretend she was. It
was a fun energy to play with, especially being something I’m not usually drawn
to. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="line-height: 200%; margin: 0in 0in 8pt;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Bringing
the Past into the Present: Period Dance on the Stage and in the Curriculum -
Movement for Actors</span></b></div>
<div class="MsoNormal" style="line-height: 200%; margin: 0in 0in 8pt;">
<span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">I have been dancing since
I was very young and have done ballet for the majority of my life. I loved to
read about all the different styles and periods, and I think it is important in
theatre because many shows have period dances in them. The section on postural
alignment is super helpful. The exercises included for better posture are
really relevant to me, because I have horrible posture and so often I forget
about it on stage.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="line-height: 200%; margin: 0in 0in 8pt;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Shakespeare
Honors the Three Centers of the Body - Movement for Actors</span></b></div>
<div class="MsoNormal" style="line-height: 200%; margin: 0in 0in 8pt;">
<span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">The three centers are
mind, heart, and body.<span style="mso-spacerun: yes;"> </span>This chapter
focuses on putting the actor into an Elizabethan or Middle Ages character.<span style="mso-spacerun: yes;"> </span>I think its very important to keep these in mind
when performing more classical text because so many classical works created
characters using these centers specifically, and highlighting them within each
character will help to develop something really nice on stage. Also using
facial and body expressions to show emotion can be a huge help when the text
doesn’t offer exact words that describe feelings. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="line-height: 200%; margin: 0in 0in 8pt;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Posture
and Alignment - Energy and Relaxation in Movement</span></b></div>
<div class="MsoNormal" style="line-height: 200%; margin: 0in 0in 8pt;">
<span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">I’ve always been very
interested in how the human body works and functions as a whole. I loved this
chapter and being able to read about the different skeletal and muscular
functions that help to create the movements we do. It also really helped to
show how important stretching and warming up is before performances and highly
physical activity. Being a dancer and an actor, I pay a lot of attention to my
body and make sure to try to give it what it needs to be ready for performance.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="line-height: 200%; margin: 0in 0in 8pt;">
<span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><o:p> </o:p></span></div>
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Chapter
10 - Body’s Personal Space Spheres<o:p></o:p></span></b><br />
<span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">This chapter talked a lot
about imagining and creating a sphere for yourself and using that sphere to
take up space. This is something that I’ve been practicing for awhile and is
commonly brought up in my classes and rehearsals. It also was something we
talked about a lot in voice class and working to use our voices to fill
different types of spaces. I have a pretty big voice, so often times its more
difficult for me to try and contain it to smaller spaces and I have to work
harder in that instance.<o:p></o:p></span><br />
<br />
<div class="MsoNormal" style="line-height: 200%; margin: 0in 0in 8pt;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Theatrical
Stillness - Movement for Actors </span></b></div>
<div class="MsoNormal" style="line-height: 200%; margin: 0in 0in 8pt;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"></span></b><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">So often I see actors
feeling like they have to move too much. I struggled with this when I first
started acting, and now I’ve come to really prefer using stillness. I also
struggled with this in my directing class this semester, and I was concerned
about using too much stillness in a scene, but came to be comfortable with it,
and it ended up looking much more realistic. In real life we’re not moving
constantly, and I think that it should be reflected in acting.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="line-height: 200%; margin: 0in 0in 8pt;">
<span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><o:p> </o:p></span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Chapter
3 - Taihenjutsu - Stage Combat</span></b></div>
<div class="MsoNormal" style="line-height: 200%; margin: 0in 0in 8pt;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"></span></b><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">I enjoyed how this
chapter put emphasis on physical warm ups and stretches before getting into stage
combat. I think a lot of people forget that this is a highly physical skill and
you can really get hurt if you aren’t prepared before you start. I also liked
how it made sure to say how important a slower tempo is when first learning and
practicing. There is so much detail that you have to pay attention to and if
you try and rush it too much, it can be very dangerous for everyone involved. </span></div>
<div class="MsoNormal" style="line-height: 200%; margin: 0in 0in 8pt;">
<span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"></span> </div>
<div class="MsoNormal" style="line-height: 200%; margin: 0in 0in 8pt;">
<span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><strong>Be A Clown</strong></span></div>
<div class="MsoNormal" style="line-height: 200%; margin: 0in 0in 8pt;">
<span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">I think this really just tells about how important it is to have fun and don't worry about being too much when it comes to clowning. There is importance in little details, but mainly its about enjoying the process and creating something fun. Comedy isn't always the main goal either. </span></div>
<div class="MsoNormal" style="line-height: 200%; margin: 0in 0in 8pt;">
<span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"></span> </div>
<div class="MsoNormal" style="line-height: 200%; margin: 0in 0in 8pt;">
<span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><strong>Clown Video Response</strong></span></div>
<div class="MsoNormal" style="line-height: 200%; margin: 0in 0in 8pt;">
<span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">I have always loved Mr. bean, and so getting to watch more of Atkinson's work was great. he paid such attention to little details, and that's what really makes his work so special. I also appreciated the racing video because something so simple was so funny and I think that is a big part of clowning. I was a gymnast for a long time and know how difficult the bars are, so watching that video was also very entertaining. That event is not designed for men and he really showed some skill doing it, as well as showed why it's difficult for men in a very comedic way. </span></div>
</span>Anonymoushttp://www.blogger.com/profile/15464991789073119199noreply@blogger.com0tag:blogger.com,1999:blog-2094329079651490837.post-7851165431290699032017-04-07T07:59:00.002-06:002017-04-07T07:59:29.736-06:00<div style="text-align: center;">
Tech N9ne</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM7jS5Q8sgNTZdhYAAveyMja2AWiaHl-o8Ptjw_aKW9HjdBUK_evSvLC58L_16XbsbsnxLOQ02lTOLZM3RJ2yMNBTaVkaDXAbKI3AzbieC_L6pmBdwbGxy06nPzEedNTyOaeYL9S5GFdlN/s1600/T9Facepaint2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM7jS5Q8sgNTZdhYAAveyMja2AWiaHl-o8Ptjw_aKW9HjdBUK_evSvLC58L_16XbsbsnxLOQ02lTOLZM3RJ2yMNBTaVkaDXAbKI3AzbieC_L6pmBdwbGxy06nPzEedNTyOaeYL9S5GFdlN/s320/T9Facepaint2.jpg" width="207" /></a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: left;">
Tech N9ne has been one of my favorite artists for over a decade. He is a rap artist with a style unlike any other. Tech N9ne's real name is Aaron Dontez Yates, he is from Kansas City, MO. Yates has always been a fan of horror films and he is fascinated with serial killers. This has influenced his music greatly over the years. Tech N9ne calls himself and his crew the Killer clowns. This is very different from the type of clowning we are experimenting with, however there are just as particular of mannerisms in each type. This is part of an underground rap movement including the Insane Clown Posse group, Hed P.E. (Sad clowns), Twiztid (Wicked clowns). These are all artists that have taken their clowning to a weird level which I dont like. </div>
<div style="text-align: left;">
Tech N9ne's Killer clown style does not imply that he is evil. He just kills the style he choses! His movements are extremely particular and precise. I have always admired his articulate speech, however when I see him live I can not help but to respect his ability to be so articulate with his movements as well. He moves very low to the ground and uses his hands and fingers to move with the music. His type of clowning expresses his sinister and also sexual nature. He will use the microphone as a phallic symbol, he will also ask women to home on stage and he will practically give them a lap dance, among other things. Somtimes he is ridiculous, but he is very entertaining.</div>
<div style="text-align: left;">
Tech N9ne started painting his face when he was a backup dancer and realized that it changed him. The face paint gave Tech the ability to share much more on stage. He says he "stopped giving a f***." The paint gave him freedom of expression and let him bring the things he wanted to hold inside, out! He says in a recent interview that his vulgarity and craziness in his music comes from the freedom he gained from adopting a clown persona.</div>
<div style="text-align: left;">
Tech N9ne's stage presence have taken him very far. He puts on the most electrifying shows and has created a label to reflect his nature called Strange Music. He recently switched to a mask, probably to avoid harsh face paint every day.</div>
<div style="text-align: left;">
</div>
<a name='more'></a>Works cited<br />
<div style="text-align: left;">
https://youtu.be/O7P72c36zvY</div>
<div style="text-align: left;">
www.strange music.com</div>
<div style="text-align: left;">
<br /></div>
Anonymoushttp://www.blogger.com/profile/06698829839862240849noreply@blogger.com0tag:blogger.com,1999:blog-2094329079651490837.post-86825526876950836872017-04-07T01:10:00.003-06:002017-04-07T01:10:31.759-06:00Clown Research Project<div class="MsoNormal">
Cassie Lujan<o:p></o:p></div>
<div class="MsoNormal">
THE 3220<o:p></o:p></div>
<div class="MsoNormal">
6 April 2016<o:p></o:p></div>
<div class="MsoNormal">
Clown Research Project<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
Otto Griebling<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
Otto Griebling was born in Germany
on April 28<sup>th</sup> 1896 and was responsible for the convention of the
silent tramp style of clowning. Griebling migrated to the United States at age
fourteen and lived with his mother in Wisconsin. He answered an advertisement
for a Bareback Rider for the Riding Hodginis of a famous circus family in
Baraboo, WI. Sometime after that, Griebling road for the Hanneford riding act
at the Sells Floto Circus. <o:p></o:p></div>
<div class="MsoNormal" style="text-indent: .5in;">
Then in 1930, Griebling decided after
a decade of bareback riding he decided to become a clown full time and this is
when his silent tramp style emerged. In 1932, he took up with the
Hagenbeck-Wallace Circus. Then, two years later, he became a prominent figure
in the Cole Bros Circus. In 1951, Griebling found his circus home in Ringling
Bros and Barnum and Bailey Circus.<o:p></o:p></div>
<div class="MsoNormal" style="text-indent: .5in;">
Griebling had a style all his own
in his tramp clowning. It was silent and featured pantomime and many prop-heavy
gags. Some examples of that include hat prestidigation and using blocks of ice
to showcase a long running bit during the evening. It has been said that many
professional contemporary clowns have based their foundation on the techniques
that Griebling coined. Many people refer to Emmett Kelly as the curator of the
silent tramp, however this is due to misrepresentation and now Griebling is understood
as the revolutionary teacher he was. <o:p></o:p></div>
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In 1970, Griebling discovered
throat cancer and had to have his larynx removed, which rendered him
speechless. He taught at the Ringling Bros Clown College in Sarasota, Florida
and continued to perform til his death in April 1972 as he was doing what he
loved during a show at Madison Square Garden.<o:p></o:p></div>
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Works Cited</div>
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"Otto Griebling (1896 - 1972) - Find A Grave Memorial." <i style="box-sizing: border-box;">Otto Griebling (1896 - 1972) - Find A Grave Memorial</i>. </div>
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<br /></div>
<div class="hang" style="box-sizing: border-box; font-family: 'Times New Roman', Times; font-size: 16px; margin-left: 2.5em; text-indent: -2.5em;">
"Otto Griebling." <i style="box-sizing: border-box;">Circus Clown Otto Griebling</i>. </div>
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<div class="hang" style="box-sizing: border-box; font-family: 'Times New Roman', Times; font-size: 16px; margin-left: 2.5em; text-indent: -2.5em;">
Sward, Jeffrey. "Otto Griebling Tribute." <i style="box-sizing: border-box;">Jeffrey Sward, Photographer.</i></div>
Anonymoushttp://www.blogger.com/profile/08320551008746372148noreply@blogger.com0tag:blogger.com,1999:blog-2094329079651490837.post-24332867116701085532017-04-06T22:26:00.001-06:002017-04-06T22:26:24.449-06:00Clown youtube clipsThe Mr. bean one was my favorite. As a child I loved watching Mr. Bean and it made me cheer up in the worst of times. These clips also show how timing is everything especially in the boxing clip which was very well done. The bar routine was hilarious and looked well done so that no one gets hurt. It is true that everyone should warm up so there are no injuries. Train well and don't try this at home kids unless you are trained!Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-2094329079651490837.post-61299644440917550252017-04-06T22:20:00.003-06:002017-04-06T22:20:46.185-06:00clown research project<div class="MsoNormal">
Clown research project<o:p></o:p></div>
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Dimitri Jakob muller was born in
Ascona, Switzerland on September 18,1935. He wanted to be a clown at age seven
after watching a clown performance by clown Andeff. His parents didn’t know how
to help him when they found out he wanted to do clowning. They eventually
signed him up for dance classes, acrobatics, acting, and gymnastics. He studied
in Paris with Etienne Decroux and met Marcel Marceau. He was told that if he
works at it really hard he could be a good mime. He married his childhood sweetheart
Guanda in 1961, and has four children. In the early 1960’s he was performing in
leading Paris theaters. In 1969, he was invited to swiss circus Knie. His style
is solo and involves little to no props and no scenery. In 1975, he established a school called
scuola teatro Demitri.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
He was inducted to the international
clown hall of fame in 1995. He was an author, songwriter, and operated a
theater company with his spouse. To be a successful mime one would have to play
some instruments, good at clowning, good with timing, and do difficult tricks such
as shooting and catching balls in your mouth. He has always made people laugh he told an
interviewer in 2012. He died at age 80 he passed on July 19,2016 In Borgnone,
Ticino.<o:p></o:p></div>
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<div class="MsoNormal" style="line-height: 200%;">
Dimitri the Clown; Mime artist and
circus clown who trained with Marcel Marceau and became a Unicef
ambassador." Daily Telegraph [London, England], 26 July 2016, p. 25.
Infotrac Newsstand, go.galegroup.com/ps/i.do?p=STND&sw=w&u=auraria_main&v=2.1&it=r&id=GALE%7CA459224830&sid=summon&asid=244aa22b3f8311ca34b959942903e852.
Accessed 4 Apr. 2017.<o:p></o:p></div>
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<div class="MsoNormal" style="line-height: 200%;">
Graeber, L. (2009, Apr 03). La
famiglia dimitri. New York Times (1923-Current File) Retrieved from
https://0-search-proquest-com.skyline.ucdenver.edu/docview/1030598085?accountid=14506<o:p></o:p></div>
Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-2094329079651490837.post-27306067630560091792017-04-06T20:01:00.002-06:002017-04-06T20:01:21.587-06:00Clowning VideosThe videos were very interesting to watch. I loved the Mr. Bean video. I have always loved his work. His ability to make it look like the drums were actually there was amazing! It reminded me of when we were clowning with props. I noticed that he had a space between his fingers for the drumsticks just like we talked. In "Regards of the Flight," Bill Irwin as I talked about in my paper uses dance and his flexibility. I also liked the way he used an audience member. Irwin's body movement is special. I really have never seen anyone like him. His flexibility is amazing. The Olympics for People with No Sense of Direction was hilarious. It was a simple, yet effective clowning. Charlie Chaplin's movement is so timely and precise. His dance with the referee was so in time, choreographed, and rehearsed. It was fantastic. The Bar Routine was pretty funny. The way he landed on his back at the end was done so well. He knew exactly how to land to not get injured. The Mother of Charactershttp://www.blogger.com/profile/09489893827367578032noreply@blogger.com0tag:blogger.com,1999:blog-2094329079651490837.post-13797057754051318642017-04-06T19:35:00.000-06:002017-04-06T19:35:26.045-06:00Reading MA 187-195 ,104-107,36-49These readings seem to stress the importance of audience connection. Clowning is not always about making people laugh it is telling a story. This reminds me about making contact with the audience to get a good impression. After reading about Mr. Downey J.R. struggling to learn Chaplin it is similar to me when I try to mimic some actors. Bottom line it is important to connect with audience and rehearse with purpose.Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-2094329079651490837.post-7450884394134539312017-04-06T17:35:00.001-06:002017-04-06T17:35:51.044-06:00Ed Wynn<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman";">Kelcee
Covert<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman";">THE
3220- Stage Movement<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman";">Clown
Research Project<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman";">April
5, 2017<o:p></o:p></span></div>
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<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center;">
<u><span style="font-family: "Times New Roman";">Ed Wynn<o:p></o:p></span></u></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>Ed Wynn was an American comedian who
was born Isaiah Edwin Leopold in Philadelphia, Pennsylvania. His parents we’re
immigrants from Europe, and were stern about working hard for a living. He ran
away from home in his teens, worked as a hat salesman and as a utility boy, and
eventually adapted his middle name "Edwin" into his new stage name,
"Ed Wynn", to save his family the embarrassment of having a lowly
comedian as a relative. Wynn began his career in vaudeville in 1903 and was a
star of the Ziegfeld Follies starting in 1914. Wynn wrote, directed, and
produced many shows on Broadway and was known for his silly costumes and props.
He also developed a signature giggly, wavering voice in 1921 for the musical
review, <i style="mso-bidi-font-style: normal;">The Perfect Fool</i>.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>In the early 1930s Wynn hosted the
popular radio show <i style="mso-bidi-font-style: normal;">The Fire Chief</i>.
Like many former vaudeville performers who turned to radio, Wynn insisted on
performing for a live audience and doing each program as an actual stage show.
He used visual bits to augment his written material, and wore a colorful
costume with a red fireman's helmet. Wynn's customary opening, "Tonight,
Graham, the show's gonna be different," became one of the most familiar
tag-lines of its time.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>Ed Wynn hosted one of the first
network comedy-variety television shows, on CBS, and won both a Peabody Award
and an Emmy Award in 1949. He worked with many pop icons of the decade on this
show. He than moved to movies alongside his son and starred in <i style="mso-bidi-font-style: normal;">Requiem For a Heavyweight</i>. This established
Wynn as serious dramatic actor who could easily hold his own with the best. His
role in <i style="mso-bidi-font-style: normal;">The Diary of Anne Frank</i> won
him an Academy Award nomination for Best Supporting Actor. Wynn skillfully
moved between comic and dramatic roles. Wynn voiced the Mad Hatter in Disney's <i style="mso-bidi-font-style: normal;">Alice in Wonderland </i>and played The
Toymaker in Disney's <i style="mso-bidi-font-style: normal;">Babes in Toyl</i>and.
Possibly his best-remembered film appearance was in <i style="mso-bidi-font-style: normal;">Mary Poppins</i>, in which he played Uncle Albert, singing "I Love
to Laugh".<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>Wynn died June 19, 1966 in Beverly
Hills, California of throat cancer at 79. Red Skelton, who was discovered by
Wynn, stated: "His death is the first time he ever made anyone sad."<o:p></o:p></span></div>
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<u><span style="font-family: "Times New Roman";">Bibliography <o:p></o:p></span></u></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman";">Berman,
Garry. Perfect fool: the life and career of Ed Wynn. Albany, GA: BearManor
Media, 2012. Print.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">"Ed Wynn." Ed Wynn. Web. 06 Apr. 2017.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman";"><a href="http://www.jewishvirtuallibrary.org/ed-wynn">http://www.jewishvirtuallibrary.org/ed-wynn</a><o:p></o:p></span></div>
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<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman";">Encyclopædia
Britannica. "Ed Wynn." Encyclopædia Britannica. Encyclopædia
Britannica, inc., 16 Dec. 2009. Web. 06 Apr. 2017.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman";"><a href="https://www.britannica.com/biography/Ed-Wynn">https://www.britannica.com/biography/Ed-Wynn</a><o:p></o:p></span></div>
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Anonymoushttp://www.blogger.com/profile/15464991789073119199noreply@blogger.com0tag:blogger.com,1999:blog-2094329079651490837.post-78330685601701860892017-04-05T12:49:00.002-06:002017-04-05T12:49:50.261-06:00Bill Irwin - Clown Extraordinaire<div style="-webkit-text-stroke-color: rgb(220, 89, 34); -webkit-text-stroke-width: initial; color: #dc5922; font-family: Baskerville; font-size: 32px; line-height: normal; text-align: center;">
<span style="font-kerning: none;">Bill Irwin</span></div>
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<span style="font-kerning: none;">Clown Extraordinaire</span></div>
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<span style="-webkit-font-kerning: none;">Bill Irwin is an excellent example of a modern day clown. In his skit, <i>In Regard of the Flight</i>, (1982), he climbs into a trunk and pretends to walk downstairs. This particular skit has followed me throughout my life. I am not sure where I first saw it but I have always been enamored with his movement and even attempted to copy it. Unfortunately, my abilities are nowhere near Irwin’s.</span></div>
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<span style="-webkit-font-kerning: none;">After earning a theatre degree from Oberlin College, Irwin began his clown training by graduating from Ringling Brothers and Barnum & Bailey’s Clown College in 1974. He helped build the Pickle Family Circus as one of its founders. Irwin has been featured on television, in movies, on Broadway, and even has had a few Broadway shows of his own. </span></div>
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<span style="font-kerning: none;">According to Marvin Carlson, Irwin is considered a “new vaudevillian.” (Carlson 124) He “mixed traditional clown routines with continually foiled attempts to establish a new avant-garde approach to theatre and with the running accompaniment of a critic from the audience commenting on the work.” (Carlson 124) Irwin has a way about him that one rarely sees. He is extremely flexible and does the splits as if he were slipping on a banana. He also is a magnificent dancer and brings that into his routines. His character name on Sesame Street, Mr. Noodle, fits well because at times his body moves and literally looks like a noodle.</span></div>
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<span style="font-kerning: none;">Irwin uses buoyancy, radiancy, and potency in his clowning. Using all three at different times makes his character seem heavy, light, and at times nervous. At times his feet never seem to touch the ground. His ability to make his legs look like rubber when dancing or walking is quite amazing because it looks as if he is boneless. According to </span>Bruce Weber, clowning is so ingrained in Irwin that he even ends up using it during auditions. Irwin’s ability to use his posture as an objective and a tactic is a reminder to all actors that physicality is just as important as vocal ability. </div>
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<span style="font-kerning: none;">Irwin discusses the differences between acting and clowning by reciting lines written by someone else and the “ability to use their own material.” (Bilowit) He also believes that clowning is more physically demanding than acting. This is reiterated simply by watching some of his clowning routines and comparing those to his roles on television or in movies, unless of course he is playing a clown on TV or in a movie.</span></div>
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<span style="font-kerning: none;">According to Weber, Irwin stretches a lot. He stretches even when doing mundane tasks, which is obvious in his skits, because he is extremely flexible. In rehearsals, he uses mirrors to watch his facial expressions and get them just right. Utilizing his eyebrows and mouth he creates the face of his character.</span></div>
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<span style="font-kerning: none;">Personally, I would love to emulate Irwin’s imaginative expression. He makes everything look simple, no matter what he is doing. His face may show us a different view but his body is so fluid and smooth. Irwin talks about the years of practice and how it makes him who he is in his interview with the New York Times. However, Irwin is not just a clown. He is also the 2005 Tony Award winning actor for his performance of George in Who's Afraid of Virginia Woolf on Broadway. Irwin can dazzle the world with his movement and also with his abilities as an actor on stage. </span></div>
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<span style="font-family: "baskerville"; line-height: normal;"><b>Bibliography</b></span></div>
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<span style="-webkit-text-stroke-width: initial; font-family: "baskerville";">“Bill Irwin Biography.” The Bill Irwin.com.</span><span style="-webkit-text-stroke-width: initial; font-family: "baskerville";"> </span><span style="-webkit-text-stroke-width: initial; font-family: "baskerville";">2014-2017. Web 3 April 2017. http://</span><span class="Apple-tab-span" style="font-family: "baskerville"; white-space: pre;"> </span><a href="http://thebillirwin.com/biography.html" style="-webkit-text-stroke-width: initial; font-family: Baskerville;"><span style="-webkit-font-kerning: none;">thebillirwin.com/biography.html</span></a></div>
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<span style="font-kerning: none;">Bilowit, Ira J. "Bill Irwin and the fine art of clowning." <i>Back Stage</i>, 6 Oct. 1995, p. 5+. <i>General OneFile</i>, <a href="http://go.galegroup.com/ps/i.dop=ITOF&sw=w&u=auraria_"><span style="-webkit-font-kerning: none;">go.galegroup.com/ps/i.dop=ITOF&sw=w&u=auraria_</span></a> main <span class="Apple-tab-span" style="white-space: pre;"> </span>&v=2.1&it=r&id=GALE %7CA17595095&sid= summon&asid=864c798067517f5aef1bb6e2bcc4e8fb. Accessed 4 Apr. 2017.</span></div>
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<span style="font-kerning: none;">Carlson, Marvin. <i>Performance: A Critical Introduction, second edition.</i> Routeledge, 2004.</span></div>
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<span style="font-kerning: none;">Weber, Bruce. “AT THE GYM WITH -- Bill Irwin; Just Clowning Around With Intellect.” <span class="Apple-tab-span" style="white-space: pre;"> </span>New York Times. March 3, 1993. <a href="http://www.nytimes.com/1993/03/03/"><span style="-webkit-font-kerning: none;">http://www.nytimes.com/1993/03/03/</span></a><span class="Apple-tab-span" style="white-space: pre;"> </span>garden/at-the-gym-with-bill-irwin-just-clowning-around-with-intellect.html?<span class="Apple-tab-span" style="white-space: pre;"> </span>pagewanted=all</span></div>
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The Mother of Charactershttp://www.blogger.com/profile/09489893827367578032noreply@blogger.com0tag:blogger.com,1999:blog-2094329079651490837.post-5967706464618462052017-04-03T12:14:00.002-06:002017-04-03T12:14:34.886-06:00Reading Responses for this weekReading Response for Movement for Actors<br />
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Teaching Charlie Chaplin How To Walk<br />
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In our reading this week I was struck by a few things. I have never really been into Charlie Chaplin but after reading about his walk and movements on stage, I had the desire to watch him in action. After watching several clips, I felt that Dan Kamin was right on when he said that Chaplin's movement were fluid. I did not know that Chaplin was an alcoholic and maybe that added to his fluidity. When I am drunk, my movements are definitely more fluid, or at least I feel that they are. <br />
I really connected with the section about Robert Downey Jr.'s struggle to get Chaplin's movements. When we are playing characters that are more relaxed then us we should start are warmup process with daily relaxation and work that is specific to that character. In fact, we should cater each warm up like we do with vocal warmups and base them on the nature of our characters.<br />
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The Smallest Mask: The Red Nose<br />
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This reading reminded me that we need to make a connection with the audience. It's so important in clowning to make eye contact, keeping the fourth wall open. Another area that struck me was to use our limitations as comedy. I feel in clowning we must be more vulnerable. This will make our characters stand out and make the audience feel a closer connection to us. The three-second wait was a great exercise to get us out of our own personal movements. <br />
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Movement Training: Dell'Arte International<br />
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This chapter helped to remind me that truly the audience bases everything off of what they see and what they hear. To just walk across a stage as yourself, when you are playing a character that is totally different than you, is a failure. We as actors must make our characters believable. We want the audience to feel something. The other part that really spoke to me was about how as we grow up we have learned to mask our emotions. This is so true and we need to remind ourselves that showing the audience is extremely important. The Mother of Charactershttp://www.blogger.com/profile/09489893827367578032noreply@blogger.com0tag:blogger.com,1999:blog-2094329079651490837.post-57016251966115325192017-03-30T14:12:00.000-06:002017-03-30T14:19:20.880-06:00Viewing response: Inspirations and AspirationsHi! So here's a series of videos I was going to show to you in class and talk to you about, but since I'm ill I thought you all could have fun watching them on your own. These are only a few of the many amazing clowns out there, and I've posted annotations with each, so you can get my take on them, why I chose to show them, etc.<br />
If you could please make a "reading" response post responding to these clips, then we can discuss further when we return on the 7th. Same parameters as your normal reading responses.<br />
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<iframe width="560" height="315" src="https://www.youtube.com/embed/A_kloG2Z7tU" frameborder="0" allowfullscreen></iframe>
This is just pure genius re: isolation of his body parts, and especially that creating the world using focus and physicality, that we discussed before break.
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Who knew plastic shopping bags could be sublime? And who's his chair?
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/iQXXntFQTmk" width="560"></iframe><br />
Okay people: this is Bill Irwin, Super Clown Genius, and I am not kidding. I took a workshop from him, and...just. No words. I adore this piece because it's postmodern, or at least it makes scathing commentary on postmodernism in theatre. Also, the way this man MOVES...The entire show is up on YouTube as well, I believe.<br />
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The Master himself. This is classical mime at its most incredible. Note how he is dressed very much like a Commedia character, or a classical ballet dancer. Also: HOW does he isolate his FACE like that??
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CLOWNLYMPICS INSPIRATIONS:
Here are some amazing sporting events that I hope you all feel inspired by and in awe of:<br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/15Z5nsyLDbE" width="560"></iframe><br />
Short, sweet, simple. Beginning, middle, and end. Monty Python. Need I say more?
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Paul Hunt is quite the gymnastics virtuoso. Search for his balance beam routine too: it's extraordinary. And talk about your taihenjutsu punchline ending!
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A classic sports scene from the movie City Lights. Obvs some unsafe stuff here, but do admire and note the incredible choreography here. Yes, clowning takes lots and lots of rehearsal.
Prof. Jennhttp://www.blogger.com/profile/13846413116997172413noreply@blogger.com0tag:blogger.com,1999:blog-2094329079651490837.post-66012827298401036952017-03-30T13:47:00.000-06:002017-03-30T13:47:31.340-06:00Clown Research Project Hi all,<br />
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Here's the basic assignment guidelines for your Clown Research Project, due April 7th. We decided we'd make these blog posts instead of papers, as some of you wanted to include multimedia in your presentations. We will be doing an informal show and tell of these in class on the 7th.<br />
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CLOWN RESEARCH PROJECT GUIDELINES:<br />
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--1-2 pages long (blog post)<br />
--1-2 sources, cited in MLA format and with a proper Works Cited page (no wikipedia allowed; otherwise scholarly or popular sources are okay)<br />
--Topic: overview of the oeuvre of a famous clown from recent history (we discussed possibilities in class: ask if you are stumped)<br />
--in your writing, not only describe and show why your subject is an excellent example of modern clowning, but also why you chose them. What about this professional's work struck you? What makes it unique? What in their performances do you want to emulate in your Clownlympics performance?<br />
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CLOWNLYMPICS:<br />
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--we will be pushing the Clownlympics performances forward to April 14th. More on that when we meet on the 7th.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpl_I5FoKfl2-iomiHO2dDo27e3uAnJfLeYWCLbqUTAYYwMECUDuOG_T0h-CJ0sJUMcYEu6-Q_vb3JhjHYWEB_ICeWZ67KvVuctTA7WRCFF2OuKTVmDdy0TjUTaw9nzW1l3IB0BJkyrpw/s1600/christynjenn.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpl_I5FoKfl2-iomiHO2dDo27e3uAnJfLeYWCLbqUTAYYwMECUDuOG_T0h-CJ0sJUMcYEu6-Q_vb3JhjHYWEB_ICeWZ67KvVuctTA7WRCFF2OuKTVmDdy0TjUTaw9nzW1l3IB0BJkyrpw/s400/christynjenn.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">In high school, the final exam for our Clowning unit was to perform for at least one hour on the Pearl Street mall in Boulder, a mall known (then in the late '80s/early '90s especially) for its excellent street performers. Talk about a high pressure test. Maybe I should send you all out onto the 16th street mall...<br />(oh, this is me and my friend Christy. Can you tell which one is me?)</td></tr>
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<br />Prof. Jennhttp://www.blogger.com/profile/13846413116997172413noreply@blogger.com0tag:blogger.com,1999:blog-2094329079651490837.post-8501771402171331802017-03-16T23:54:00.003-06:002017-03-16T23:54:48.557-06:00Reading Responses - Start of Semester to March 10th<div style="text-align: center;">
Reading Responses<br />
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Body Wisdom - Chapter 4 - Body Energizers: The four body energizers that are outlined in this reading are the same we explored in class. I enjoyed learning this tool and have begun to incorporate some of these aspects of energy control in to my performances. I have found the most use of radiant energy in my internship with Kaiser Permenente, My character is very energetic and expressive, he is quite crazy and sporadic as well. I also have found value in grounded energy for my portrayal of Arthur Robertson. It is very nice to have such a detailed description of the exercises we have been doing while I have been at MSU Denver. I am very eager to mess with the water experiments!<br />
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Movement for Actors - Bringing the Past into the Present: Period Dance on the Stage and in the Curriculum: This section was very interesting due to the fact that this is my first semester of movement education ever. I have experience acting, but none with learning period movement or dance. I am in this class, and also I am in tap dance. This combination has awakened my awareness of my body and brought me to appreciate this type of class.<br />
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Body Wisdom - Chapter 13 - Personal Space Spheres: It was interesting to explore interacting personal space spheres when wearing our period costumes. It made it very difficult to walk around while having a sword and being conscious not to hurt anyone. I thought it was interesting how the costumes changed my inner and outer focus. This definitely gave me an idea of how I need to view each part of my body in order to control each one. The circular sections where movement occurs was a wonderful visual for me. The section on posture and alignment was valuable to me because it helped me to get a better grasp of how to handle my center of gravity.<br />
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Movement for Actors - Shakespeare Honors the Three Centers of the Body: Shakespeare brought attention to the three centers of the body in his texts. He very much created the persons and characters to be dynamic in this way. In a way it seems that Shakespeare aimed to bring the dynamic potential of his fellow human to their attention through his poetic creations. The three were the heart or feeling center, the body, or sexual center, as well as the mind.<br />
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Be a Clown: What an awesome read! I have known about clowns through the common birthday clown deal. Also through underground (or formerly underground) rap artists such as Tech N9ne (Killer Clown), Hed PE (Sad Clowns), and even the ever so ridiculous Insane Clown Posse. These artists have taken clowning to a different level but with the same idea in mind, each clown has its own characteristics and roles in life, there is a diversity between the groups. The outfit is less important than the mannerisms of the clown. You can be a clown without paint which is somthing I have never heard about. On that note I am tying to figure out what my hat will be, I am thinking a combination of a hat and a bandana, or a bandana and a bandana will do.<br />
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Chapter 3 - Taihenjutsu: During our explorations I felt that my body is ready for this type of movement. I quickly realized that my mind was not quite ready. I have control over my movements but not in that way quite yet. This chapter gave me good warm ups and stretches, but also a very good way to read and get my mind prepared to move this way in a healthy and controlled manner. I agree with the text in that I am not down with the Captain Kirk, my knees suck.<br />
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Anonymoushttp://www.blogger.com/profile/06698829839862240849noreply@blogger.com0tag:blogger.com,1999:blog-2094329079651490837.post-40777284939994343122017-03-16T20:16:00.000-06:002017-03-16T20:16:10.781-06:00Reading Responses as of March 16,2017<br />
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Chapter 4<br />
It is amazing that some exercises can actually help you play instruments much better and help when developing characters. There are different types of energies buoyancy radiancy. I do seem to have the radiancy of alertness which can help in my life and on the stage. It has helped me with portraying characters who are curious.<br />
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Price is right models<br />
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It is amazing how the gestures of the models are different when bob Barker was the host. Now it seems like they really focus on the product and smile more there are even male models today interesting.<br />
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Period of dance.<br />
Dance has come a long way and is a way of expression that is very interesting. I feel it is very beneficial to stretch and warm up before doing any dance so the posture is nice and straight other wise an injury can and will occur!<br />
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Posture and alignment<br />
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This reading was really fascinating on how our spine functions when we do everyday tasks. Now when I do these tasks I will definitely think about what my body is doing. I noticed that a lot of people tend to slouch and it is harming the body.<br />
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Ch 13<br />
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Having a spatial sphere kind of reminded me of playing tennis having to beware of where the ball could end up or will it be out of bounds.With the vocal sphere I just picture rappers yelling it the studio and going at it in a rap battle. It is king of hard to use the spherical space at times but it sure is possible.<br />
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Theatrical stillness<br />
This is a challenge with me I have to be really focused on the task at hand. It is tough for most but it is very important because it can help in many situations. Stillness can be a powerful thing and not just movement.<br />
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Ch 3 stage combat.<br />
This read was amazing. The warm ups can really help coordinate the body better and this reminds me of a yoga class that I once took. Doing moves wrong can really take a toll on your body and I have seen it first hand it is not pretty. It is very important to get low before doing any fall or roll it is a golden rule that should never be forgotten.<br />
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Be a clown<br />
I had no idea that there were different types of clowns. As a kid I loved clowns and at one time wanted to do this type of work. I have heard of the white face and it was a France thing. I agree that timing is a necessary ingredient for a good laugh. Also you can tell a story with no words just use your facial expression and body language.Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-2094329079651490837.post-2709635376117177512017-03-16T16:55:00.001-06:002017-03-16T16:55:26.021-06:00<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Helvetica; font-size: 11px; line-height: normal;">
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<span style="font-kerning: none;">I had no idea that Whiteface was based on Pierrot. Don’t act… BE a clown, isn’t this the premise for acting in general! </span></div>
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<span style="font-kerning: none;">Finding a clown hat seemed to be difficult for me until I read this because technically it could be any hat that you feel fits your character. Try different hats and determine the one that suits your character.</span></div>
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<span style="font-kerning: none;">The piano story was hilarious because Clowning is absurd. You need to think about the craziest idea and not what you would normally do. Maybe even think about things that you wouldn’t do and do those. (Think like a clown!) As with comedy, comedic timing is extremely important, including reactions.</span></div>
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<span style="font-kerning: none;">Classic take - using audiences reactions to your behaviors. </span></div>
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<span style="font-kerning: none;">Double take - Looking at something twice, you’ve probably done this in reality, I know I have. <span class="Apple-tab-span" style="white-space: pre;"> </span>Where you look at something and then have to look again because you can’t believe <span class="Apple-tab-span" style="white-space: pre;"> </span>what you're seeing. Try a triple take, instead.</span></div>
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<span style="font-kerning: none;">Spit take - Where you spit water all over because something happens.</span></div>
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<span style="font-kerning: none;">Shudder take - Shaking your head rapidly and exaggerated to something that you hear or see. </span></div>
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<span style="font-kerning: none;">Delayed Reaction - Hurting yourself but then having a delayed reaction to it.</span></div>
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<span style="font-kerning: none;">Comedy in threes - Use the joke, recall it, and top it.</span></div>
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<span style="font-kerning: none;">This chapter gave me some good ideas for my clown character and our scene in general. We can make it even bigger and raise the stakes even higher.</span></div>
The Mother of Charactershttp://www.blogger.com/profile/09489893827367578032noreply@blogger.com0