learning diary 1

Hello everyone! I felt I should just give an update as to how my project is going and a small run-down to remind you all of what exactly my project includes.
I have felt for a while that theatre has explored a lot different issues that are apparent in society as of late. The theatre I work in, for example, has produced pieces such as “crime of the century” in which through different characters looks at topics such as gang culture and knife crime. “Hairspray” is a well-known musical which, as well as being loved for its catchy musical numbers, looks into racism during the 1960’s and body image issues. An issue that has not been delivered by many theatres is alcohol awareness/abuse which is on the up-rise, particularly in youth. “There is a sharp increase in drinking from the ages of 11 to 15. In 2004, 4 in 100 pupils aged 11 had drunk in the previous week compared to 45 in 100 15-year-olds.”
I feel it’s a strong issue that, through being theatrically workshopped with 17-25 year olds (people about to embark into the world of alcohol or already drinking), could develop awareness to youth.
After liaising with the head of education at my work placement, I developed a workshop to be delivered to the Btec second year students in the building (17+ years) and foundation degree first year (18+ years) including activities on the lack of brain development on underage drinking, manipulation on the body, and text about the subject creatively talking about the point of view of an individual with a hangover. This morning (Tuesday 2nd November) I delivered, with a small team of students, the workshop that I produced from my preliminary research (questionnaires and interviews) to the Btec second year students in the building. It went really well, and I will be uploading pictures very soon! Some activities were better received by the students than others, but for the slightly older students in the foundation degree I will be re-working the activities that didn’t go as well as they were quite confusing.

learning blog five

its last week leading up to handing all the work into the university. i have touched on all the work in each part of the portfolios, but i feel i am still being too vague with my information and need to go into that extra bit of detail with all of it. a small group of us met with paula this week, talking through any problems we had with various aspects of the module. i feel doing the work and liasing with others in the year has been a very positive part of completing pieces, as well as, understanding why its part is vital.



everything is starting to fall nicely into shape.i feel the work is like a cake and i jsut need to put the icing and cherries on top now!



i have found some really interesting research on the internet about alcohol abuse which has made me feel like its very important for me to go ahead with this project.



if anyone is interested check out: http://www.alcohol-stuff.co.uk/ www.mentorfoundation.org/brain www.niaaa.com

learning blog four.

Having just had a feedback session with a small group of professional practice students I feel there is room in my project proposal for a lot of improvement.

After re-reading and analysing it, I see how vague I have been with details which are very important and need to be further explained. My title is a question which I feel is a positive thing, I would like to answer it in doing my project, and however, cam a title is a question? Does this make my project too vague, and without statement can the title seem not to have a point to prove?

I want to look into bring teenagers into an inclusive environment where they can take part in a workshop and possible watch a short piece all on the theme of alcohol abuse.
After re-reading my project proposal, I have noticed I don’t recognise what subject I want to look at with the students until later on in the proposal, which makes it very confusing. I need to make the piece overall have a lot more clarity.

Still not entirely sure what I want to make my award title as it has to link with my project and my future. Want it to have something to do with musical theatre and inclusive development. Need to think about this further!

learning blog three

after campus sessions and various meetings, i feel alot more confident with my project proposal. i want to look into bringing alocohol awareness to the students i am working with. i am using the question: can creating a piece of theatre enable the youth of today to gain an understanding of an issue?

i want to look at wheather by teaching a subject in a practical setting the students find the tasks more interesting and an easier learning situation.

chickenshed already teach the students on the btec mostly practically, but i want to lead them in a workshop and then allow them to watch a short piece i will devise about the same theme.

learning blog two

I was unable to attend campus session two, however, I have read the handbook on research glossary terms and it has been very helpful. As well as this, the group of us situated at chickenshed theatre have met up and through our conversations on the activity I feel I have made positive start.
Through the handbook, I found some interesting and new ways of researching. One way that I have used, but not often, is closed questions.

Closed questions- definitions:
Questions that only require a response from a range of answers.
Questions that require you answer from a pre-defined list of responses.
Market research questions which offer the respondent a limited list of alternative answers to choose from.
.
The advantages of using this form of research is that, by giving people a choice of answer you can then make these into percentages of people and the information collected can then be made into graphs and charts to compile you facts.
This way of researching enables the questioner to stay in control of the answer given, thus setting up the answer closure for a desired negative or positive.

The disadvantages of using this style of research is that the questioner loses out on getting an original and one-of-a-kind answer, the questioner forms the answers that they might what to hear or extremes for the question at hand. Therefore, the questioner loses a more personal answer.

This form of research I will use in collecting data as the questions I want to ask might be too personal and, through questioning this way, I can get an impersonal answer and look at figures rather then personal answers.

100 words about my project.

When coming up with my project idea, I wanted to do something that would benefit the students on the btec national diploma (16+) in the building. At first I looked at what typical issues this age group might face. But with products on knife-crime and gang culture already being devised and produced in the building, it only occurred to me what I should base my project on when I was sitting in a lesson myself creative writing.

“Alcohol is the drug of choice among youth. Many young people are experiencing the consequences of drinking too much, at too early an age. As a result, underage drinking is a leading public health problem in this country.” Taken from the NIAAA website (national institue on alcohol abuse and alcoholism) the way young people are viewing binge drinking is frightening. I want to devise a performance and workshop that the studnets in the building can watch and enjoy, as well as, learn from.

learning diary blog 1

Thinking about the new module after having had the session has put my mind at ease. I realise there’s a lot of work to be done, but the slide show and factual information delivered by rosemary and Paula has given me an understanding of each part of the task at hand.

So, I've picked up pen and paper and started thinking about ideas and different routes I want to explore with this module.

Today at chickenshed we had a workshop session, where a small group of us simply sat alone and wrote for a minute. The only thing we were asked to include in our piece was the subject of the scene being based at the weekend.

A lot of ideas rushed to me and once I'd started it was difficult to stop!
From this I’ve brainstormed where I want to go with the ideas I scripted. I'm not quite far along enough to share anything yet, but if anyone suffers writer block or idea block then I recommend just sitting quietly for five minutes and trying out this. I'm very excited about this new module now! Infact there’s so many thoughts rushing to mind, that I'm leaving you fellow BAPP students to do some research.

I'm very interested in picking a subject matter that is current but you don't see that much of in the media. What are everyone else’s feelings?

everyones task d writing pieces

just wanted to say i've read some amazing pieces.
insightful, thought-provoking, and amusing.

i know afew people i have talked to feel unconfident with what they have, but everything i'v had the pleasure of reading has been great!

well done everyone!

sarah c
x

donna wilknison!please read this!

hey donna,
i have continually tried to comment since the first time i commented you writing piece, however, the computer will not let me!
so heres to hoping you see this blog and comment back if you wish.
(about your writing style three draft one)

well done on this piece. you've chosen to look at a very interesting angle of peter pan. i love how you've combined facts from the author, and your own views on the story line/characters.
i think just to push your piece to being excellent, you should look at other peoples views on these issues too, use quotes etc and don't forget to reference them.
this piece screams that you have alot more to say, and i can sense that you did not want to write too much. but i think what you have is so interesting and clever that if you do you should put alittle bit more in.

(about your writing style one draft two)

i loved it! really well done. you've vastly improved the text that was already an enjoyable read, made it more acessable to a reader and absolutely made me want to watch the film!
i don't feel you need any further improvements to this piece.

i hope you get to read this and it helps!


sarah c

draft two of writing piece one: Gepetto's workhop.

“Does he really think that we’re just made of wood?”

Its coming up to Christmas, under your tree there may be lots of presents but there’s something that won’t quite fit under there this year!
“Gepetto’s workshop” takes place at chickenshed theatre this winter. So take shelter from the cold and windy hash-whether outside, and transport you and your child into a magically place where one good little puppet comes to life and wants to save the day.

“Gepetto’s workshop” is adapted from the original story of “Pinocchio” and transformed into a contemporary version, where songs and dances lift you out-of-your-seat and onto the stage.

The story begins, like most, with a bang. SLAM! The door closes after a hurrying Gepetto runs out after a very mischievous and naughty newly-made puppet. A puppet that has come to life! “Pinocchio! Come back here!” But what Gepetto does not realise is that Pinocchio’s 4 sisters also are all very much alive. All have their own stories, except one. Named after the vowels, the last made Pinocchiyoo embarks out on an adventure looking for her own story, meeting friends along the way.


If you’re a teacher in primary school…

From Monday 16th November to Wednesday 23rd December for a sum of £275, treat the lower years of your school no better way then with our show and workshop.

Designed by a small team, “Gepetto’s workshop” is an interactive story which encourages the audience to get up and involved in what’s going on.

Aimed at children up to the age of seven, the dances songs and overall moral is perfect for performing at schools and to be applied into the classroom. Meeting characters, puppets and friends big and small, we promise never a dull moment!

It’s an experience your school will love if you use the mixture of learning, performing and art. We offer an hour session and a half an hour workshop period in which we teach the children songs they will have heard, and take them through activities to do with the shows content. What a reward after a long year!

If you’re a parent…

For six performances only, you are welcomed into the main auditorium at Chickenshed to take part in helping the puppets along on the adventure.

Joining in with songs and dances, meeting some new friends and seeing some old ones, we promise to make your child’s Christmas one they won’t forget!

If you haven’t been to chickenshed before, expect no stage as we encourage children to get as involved in what the performers are doing as much as they want. As well as, puppet interaction, monsters big and small, and a few surprise on the way!

Dates: Saturday 12th December
Saturday 19th December
Wednesday 23rd December.

Times : 10am & 11.30am

Tickets: £5

Book today: Box Office: 020 8292 9222.

Email: bookings@chickenshed.org.uk

Or for textphone users call 18001 020 8292 9222 (Typetalk).

So if you’re looking for magic this year look no further then at gepettos workshop!

draft two of writing style two.

As I realised my mind had wondered, I was thrown back into my whereabouts: a hall. The smell of custard puddings mixed with the air of freshly-polished wooden-floors woke-me-up to a room full of children; 200 eyes exploring my brightly coloured polka-dot dress. Before I could take-in anymore of my surroundings, I jumped into my first position: a lifeless puppet on a shelf in amongst others frozen in toy-like poses. A happy tune started dancing out of the piano and speakers, and as we came to life I felt the glowing-grins of the children’s face light-up our stage.

“The masters gone, now we’re alone. And we can tell you something that is very little known, his powers fade when he’s away. Sometimes he seems to think that we’re just made of wood!”

The words leapt out from my mouth acrobatically into a union of singing toys, signing with our hands the phrase with a wooden motion. Darting round the space, our faces big and full of expression, we mimick Gepetto, our ignorant creator, and how he seems not to notice us four puppets. But wait! We all freeze on stage as someone enters that shouldn’t see us move. Its Gepetto, he’s forgotten his coat. Our eyes so are wide and watering slightly as they can feel the air being pushed into them as the children bounce up-and-down “the puppets are alive! They have your coat! Turn around and look!” A slap-stick sequence ensues with Gepetto conversing with the children and walking around our built-up puppet shape centrally facing the children. We mime him exaggeratedly only when his back is turned. The children’s voices rising with laughter and shouts every time we freeze upon Gepetto turning to inspected us. Just when we can no longer hold our positions, bodies trembling, Gepetto runs off stage and for a few seconds, which felt like hours, everything stops.

The children’s mouths gape open, they stare at us. Leaping up and out across every part of our stage we hear them once again laugh and call at us. We sing and sign, our fingers nearly numb from speaking with them, until finally the first song meets its curtain. I flop over becoming a statue of a doll. The children fall silent once again as a small man step’s forward supporting a purple curly-haired wig. After a few lines of introduction he tells the children of how the four puppets surrounding them are all puppets which at the click of a remote control, Gepetto rewinds back on in hast to name them. “I know! I’ll name them after the vowels!” each puppet is assigned a name, and individually takes the stage to poetically tell their own tale. Next it’s me. Palms hot, back aching, and my mind a million miles per minute. I start and only stop to draw breathe.

“Pinocchiee was jolly, a rosy-cheeked silly dolly. My voice it belts and hits the notes, always off-key so I’m pleased not to gloat. I think myself an undiscovered star, which will be spotted from afar. But instead everyday I’ll spread joy to every puppet and every toy.”

This doll draws a big smile and gleams to the children. They mirror and copy with ear-to-ear, some missing milk teeth. This is the point my stomach stops churning, and I cool down. And as I prepare for the next fifty minutes I realise we’re only minutes in and it’s already the best performance of the piece so far.

task D writing piece 3 first draft

"Tales from the shed” is a continuous interactive show performed at chickenshed Theatre Company in North London. “Tales” uses puppets, songs, dances, stories and sign language (BSL) to bring fun and learning to an audience aged 6 months to seven.

Chickenshed follow the “early year’s foundation stage” of which marks out standards to teach younger children, as well as progressing their development. Being an inclusive theatre, chickenshed already has a very strong ethos and its own unique style of teaching and including all its members, and so combining “the early years foundation stage” along with their own methods, chickenshed has created a fun, colourful and one-of-a-kind idea in which young children’s minds can start to learn.

“Babies and children develop their competence in communicating through having frequent, enjoyable interaction with other people, in context that they understand”(1) chickenshed applies this to “tales” as each week they perform Fridays and Saturdays and every week is different. They have a memory bank of songs, dances and stories of which they re-use to enable the slightly older children in each audience a chance to join in with anything they know if they want.

“early years foundation stage” under 1.1 child development also states “children learn to communicate in many ways, not just by talking, but also in non-verbal ways such as gestures, facial expressions and gaze directions, in drawings, writing and singing, and through dance, music and drama.”(2) This statement is one that chickenshed apply to all its children theatres as well as its “tales from the shed” sessions. “Tales” uses warm-ups in which they explore facial expressions, to not only warm-up the children but also to bring humour to the piece. The audience numbers can be up to eighty (parents and children) meaning the space is smaller and more personal. Members of the team spread out across the space into the audience too, giving the children a different set-up than that of a more conventional show, there is no edge of the stage so anyone can walk up and join in or give ideas, much like the idea Boal had with “forum theatre”. Using Augusto Boals idea of “forum theatre” “tales” tells stories “a participant has to intervene decisively in the dramatic action and change it”(3) chickenshed use Boals “forum theatre” to teach the audience morals through stories, and sometimes songs.

Child development (1.1) also states under “a competent learner” that: “plays and other imaginative and creative activities help children to make sense of their experiences and transforming their knowledge, fostering cognitive development” (4)
“Children learn better by doing, and doing things with other people who are more competent, rather than just being told.” (5)
Babies and children have the freedom to take-part or just watch the piece, there is no force from the performers/team for the audience to have to sing or dance along, but they do make it well-known that any participation is more than welcome, this means that chickenshed combine the ideas “the early years foundation stage” uses and apply them to an inclusive back-drop. They allow an environment for children in which they wish to further each individual child’s development, but in doing so also allow them to feel comfortable enough to watch or interact.

Should all children be taught using politics?

“Early year’s foundation stage” continually states that children grow and develop with the help of interaction through the media of drama, singing, drawing and acting. If being creative develops a child’s mind and how they learn then does it not stand-to-reason that every child should have the chance to learn in a performing arts environment? And doesn’t Boal argue all theatre is political? If so, surely through using politics to teach children it is an ideal way for a child’s educational and emotional development.

Many dyslexic children and adults learn well using number, letter and colours. Every individual person with dyslexia links themselves and how they learn to a colour. “Miss X” is twenty-two and doing a performing arts course. She has had a form of dyslexia since the age of nine when she became epileptic. The colour she can read easiest on a page is powdery blue.”
People with dyslexia learn best by doing something rather than viewing something, young babies and children learn very similarly to that of people who have dyslexia.(6) “Tales” has a colourful set onstage and interacts with the audience through out each piece each week stimulating each child to learn something from every individual session.

“The educational system still largely determines people’s life chances” (7) so if we can start the learning process from an early age, in a relaxed environment, do we set our children up to lead better lives?

refrences:

(1) "early years foundation stage" 1.1 child developement
(2) "early years foundation stage" 1.1 child development
(3) "Theatre of the oppressed"- Augusto Boal
(4) "early years foundation stage" 1.1 child development
(5) "early years foundation stage" 1.1 child development
(6) www.excellencegateway.org.uk search theories on dyslexia
(7) "transforming society? social work and sociology"- Vicky price and Graeme Simpson, page 83 (children in the educational system.)