4/30 HW/Review

HW:  Memorize lines, bring your costume tomorrow.  You may use notecards if needed to have onstage to remember your lines.

Review: Dress rehearsals all day :)
 

4/29 HW/Review

HW:  Memorize your lines.  2 days until performance!
Review: Dress rehearsal and production work all day.

4/28/ HW/Review

HW:  Bring in your costume pieces tomorrow and memorize lines :)
Review:  Production role work first hour
               Rehearsal of Act II second hour

HW/Review:  LEARN LINES!  Do your production role work as needed.
Update--option set construction (with extra credit) tomorrow (saturday) from 9 AM to noon.

Survey

Take this survey please:

https://docs.google.com/forms/d/1wX8-STARgi8YADwhCNLv_xBHMersxtDZplGNSJW9BeA/viewform?usp=send_form

4/24 HW/Review

HW:  Memorize your lines/ Production role work as needed.  Less than a week until the big show!

4/23 HW/Review

HW:  Memorize lines (be off-script by Friday!)
          Production role work as needed

Set Construction (optional):  Tomorrow (Thursday) @ School, starting at 4pm in the outdoor amphitheater

In-class work

Mask-making
http://www.wikihow.com/Make-a-Mask-out-of-Tin-Foil-and-Tape

Playbill
http://www.wikihow.com/Design-a-Playbill

4/18 HW/Review

HW:  Memorize as many of your lines as possible.  We have less than two weeks until the performance!


Update:  Set Construction date has been set for Thursday April 24th at 4pm at High Country Construction, 315 Sunburst Ave, off Animas View Drive.
This is not mandatory for set designers, but your participation is encouraged!
We would love to see volunteers join in--we'll talk Monday about the specifics, but if you're interested in going, check with your parents/friends to organize a ride after school.

Grading update:  I have gone through the gradebook and used a new tool to symbolize any assignments that are missing.  The ones that most people are missing is Shakespeare Starter #2--" Have you had positive or negative experiences in drama/public performances in the past?  Why?  What do you think makes people good performers? How do you think you can develop these skills?   .  Please complete that brief writing assignment (1/2 page handwritten) by Monday so I can enter that grade.
Any other missing assignments you may still turn in for half credit.



Review:  Today was all rehearsals and production worktime.
No school Monday.
See you Tuesday!

4/17 HW/Review

HW:  Memorize your lines; try to have all your lines from ACT I memorized by the end of the weekend.

Review:  Finished blocking Act I :)
               Production worktime
Keep it up everyone!  We are rockin' it!

4/16 HW/Review

HW:  Finish reading the play, create 15 more annotations for final annotation check tomorrow.

Review:  Today was all production role work and rehearsals!

4/15/ HW/Review

HW:  Memorize lines, as much as possible :)
         Continue reading "A Midsummer Night's Dream", have 35 annotations        total by Thursday, when you have finished the play.

Review of today:
*Production role work.

Set design was decided upon by both classes, major components will include
--2 triangular prisms to provide backdrop
--1 long curtain rack with curtains that can be changed
--Painted tree
--Cardboard moon and sun to be hung over the curtains

Costume designers worked on locating materials and creating designs
Dramaturg team worked on creating trailer and playbill

*Rehearsals for the rest of the class period.

4/14 HW/Review

HW--Asap:  Learn your lines!  Read them to yourself as often as possible, the actual performance is within just a few weeks!

--If your essay was returned to you today in class, review the rubric below, the comments I gave you in person or on the page, and make the needed additions or corrections before turning in a final copy by Wednesday.

https://docs.google.com/a/animashighschool.com/file/d/0B_C9fVngmGpvRnQwNnJLSjNGV1U/edit

--Finish reading the entire play (the complete version, not the script for the performance) by Wednesday.  I will check for fifteen more annotations on Wednesday.

Production Roles Handouts

1.  In your group, one person reads the handout for your group's production roles aloud, switching the reader every new sentence.  Everyone annotates as you read, and have the group to stop and write down any questions as you go.  stage managers meet with Matt during this process

Set Design:
https://drive.google.com/file/d/0B_C9fVngmGpvMFUxVFF2cFNiX2M/edit?usp=sharing

Dramaturg:
https://drive.google.com/file/d/0B_C9fVngmGpvbksyUzBxZ0VTVFU/edit?usp=sharing

Costume Design:
https://drive.google.com/file/d/0B_C9fVngmGpvMzVfTUJESURkYW8/edit?usp=sharing

2.  Once you are done reading and annotating the handout, Matt will go around to answer any questions you may have.  If Matt is checking in with another group, your group begins working on the production roles and dividing up work as needed.

3.  Break


4.  Line memorization:  --Line-memorization.  In groups, read your lines through once through a simple reading first and make blocking decisions in pencil as a group.  Blocking changes may change.  Then do three run-throughs of the scene.  After each run-through, consider changes to the script. --After done with 3 run-throughs, memorize lines according to the link on the DP.

Narrators--edit your lines down, feel free to change what you wish. Write new script entirely if there are lots of changes.

Lovers/Theseus/Hippolyta/Egeus run through Scene II with your director.  A

Robin/Titania Fairy/Oberon/--Run through your lines with your director (class one, this group will have  Matt as director)

Mechanicals/Bottom--memorize your lines individually for Scene IV, Act II-- After Matt/one stage manager is done with his group of actors (fairies) he will work to block the scene with you.  Scene starts on top of page 24 with “If we offend”, ends on bottom page 25 (Will thou hear our epilogue?)

--Other characters--work on production roles.  

Cast List:

Below are the cast listings. If you have a serious issue with how you have been cast, please do not email today, but speak to me on Monday in person. I did the very best I could to accommodate your interests.  A special thanks to those who took on a larger part than they had first indicated.    

Section II

Mitchell-Stage Mgr

Risa-Stage Mgr

Narrators:  Camryn Sippy, Jake W

Theseus: Dylan Katz

Oberon:  Mitchell

Bottom:  Kyle

Puck: Risa

Lysander: Luke Stetler

Demetrius: Luke L

Hermia: Amanda

Helena:  Anne Chase

Titania: Isabel

Hippolyta: Grace

Egeus: Zach Wood

Quince: Eno

Titania’s Fairy: Mikayla

Flute (Thisby):  Ellie Duke

Snug (Lion): Cameron F

Snout (Wall): Perrin

Starveling (moonshine): Tristan

Nobles: Andrew, Henry

Section II

Lauren-Stage Mgr

Jonathan-Stage Mgr

Narrators: Annie, Aidan, Max

Theseus: Michaelan

Oberon:  Keiran

Bottom:  Dylan

Puck: Noah

Lysander: Quinn

Demetrius: Reed

Hermia: Piper

Helena:  Jade

Titania: Kaleigh

Hippolyta: Dana

Egeus: TJ

Quince: Calvin

Titania’s Fairy: Shane

Flute (Thisby): Ben

Snug (Lion): Sean

Snout (Wall): Max

Starveling (moonshine): Jake B

Friday worktime:
Prepare for your audition, work on your poetry conversion assignment is due on Monday.  It should be typed and printed.
You should have the original passage typed out on the top half of the sheet, and your conversion below.
See rubric below to review the requirements.
All Shakespeare Rubrics

If you finish early: Do extra credit!

Write a six-line poem in blank verse (Iambic pentameter that doesn't rhyme),
OR
Write four-line poem in heroic couplets (Iambic pentameter that does rhyme),

Print it out in artsy font and hand it into the black box on Matt's desk by end of day Friday.

Suggested topics-Ospreys, Shakespeare, Durango, or "what you will".

4/10 HW/Review

HW:  Begin reading the revised script, review the passage that you decide to read for tomorrow's auditions.

Production Roles

Class 1:

Costume Design: Isabel,  Amanda,  Mikayla, Camryn S

Set Design/stage crew/sound

Grace, Luke S, Tristan, Luke L, Jake W Cameron F Henry, Perrin, Eno, Anne C, Andrew

Dramaturg:  Dylan K,  Zach, Ellie D, Kyle C

Stage Managers: Risa, Mitchell,

Class 2

Costume Design-- Calvin  Kaleigh Jake B Dana Reed Dylan 

Set Design stage crew/sound-- Max Annie Quinn TJ Michaelan Jade Aidan, Sean, Shane

Dramaturg- Keiran, Noah, Ben

Stage Managers: Jonathan, Lauren 

Thursday In-Class Work

Read the below article, then do the starter listed at the end.

Beating Stage Fright

Many top artists seem natural extroverts and performers, but severe stage fright is more common than you may think.  Adele, Andre 3000,  Bob Dylan, and Rihanna are just a few platinum artists who have confessed to debilitating stage fright. In addition, a study found that eighty percent of professional actors reported experiencing stage fright at some point.  http://www.backstage.com/news/study-shows-stage-fright-is-common-among-working-actors/What is it? And how do you conquer it?

What is “Stage Fright?”

“ Stage fright” (or performance anxiety) is now considered by many psychologists to be a genuine phobia. Nervousness, or “butterflies” in your stomach, is a natural human response to public performance – be it playing music, a sports game or public speaking. Your body’s naturally-produced adrenaline can make you perform really well.

However, more severe cases can produce more noticeable biological reactions. Your muscles may contract, and your body may have sporadic bursts (and saps) of energy. Blood vessels in your extremities may constrict, resulting in tingling and numbness. An increase in heart rate will make you sweat. Sound at all familiar? You’re not alone

“Stage fright” can be considered a human’s body’s natural alarm response to what a performer has judged an emergency situation. But why do so many entertainers – clearly with talent to perform for others – respond as they would an emergency situation?

“I'm scared of audiences,” the singer Adele told Rolling Stone in 2011. “I get really scared. One show in Amsterdam, I was so nervous I escaped out the fire exit. I’ve thrown up a couple of times. Once in Brussels, I projectile-vomited on someone."

Tips For Dealing With Stage Fright

1.   Practice

A no-brainer. Know what you are going to play. Recite your lines over and over again. Write them out, make recordings on garageband and listen to them, practice with a friend or family member reading the script--whatever technique works for you.  Knowing your lines will make you light-years better. 

2.  Learn To Breathe Better: http://breakingmuscle.com/cycling/how-to-activate-your-diaphragm-to-improve-breathing-and-performance

--As you breathe in, your stomach should expand and your stomach muscles should relax.  As you breathe, out, your stomach should contract.  When we are nervous or stressed we do the reverse--when we we breathe we expand our chest and contract our stomach.  Consciously avoid this.  Breathe with your stomach, always. It decreases your heart rate and sends messages of calm and safety to your brain.  

3.   Warm up

Acting is a physical thing. And you’ll always feel less stressed if you physically warm-up. That can be hand-exercises or more general body-relaxation techniques. We will be doing these in class.  Participation is required.  Don’t pretend to be too cool.  You’re not.  Just do it.  It will make you a better actor no matter what your part is, and it will wake your body up and make the day more enjoyable.  

4. Keep the show in perspective

You may feel the whole audience is looking at you constantly. They’re not! They are there to enjoy the whole experience of the play.   And, they are on your team, and are hoping for you to do well.  And you will.  

5. Embrace Your Anxiety

It’s quite normal to have fear when stepping onstage. Remind yourself: this is normal. Begin the show confidently, and your fear will likely dissolve. Singer Ellie Goulding says, “I’m not afraid anymore. It’s gone past that point now. I get scared before shows, but it’s like an adrenaline-nervousness excitement. I will always have some fear, but in a good way now. I used to get really paralyzed by fear, but now, it makes me more focused and it doesn’t bother me--I just accept it as part of the deal.”

Starter:   Have you had positive or negative experiences in drama/public performances in the past?  Why?  What do you think makes people good performers? How do you think you can develop these skills?  



Task:  Create a poster with your group that defines the terms, one in each corner of the poster.   Each poster should have both a definition and a picture written on it.  

Why are we doing this? 

*The terms from Group 1's poster will help you write an effective Poetry Conversion.  

* The terms from the other poster will be used in the Socratic Seminar next week to create deeper understanding of the text and drop intellectual bombs that amaze your colleagues.

Note:  Double-check your work with Matt to make sure you are not creating a poster that has an inaccurate or incomplete understanding of the terms.

Group 1:  Figurative Language (give a quote from the text as an example for each), along with a picture.  

Simile

Metaphors

Personification

Imagery

Group 2: Seminar terms (give a quote from the text for each), along with a picture.

Characterization

Motif

Theme

Infer (verb)

Can use this resource or others you find on your own:  https://www.sparknotes.com/shakespeare/msnd/themes.html

Group 3: Rhythm (give example from text).  Use your slideshow notes or review the slideshow posted earlier on the DP to define these terms.

Iambic Meter

Blank Verse

Heroic Couplets

Prose

Group 4:  Find four ideas that MND is about and cite two quotes that illustrate opposing views of different characters on the topic.

Idea 1: Love and Marriage

Idea 2: Order and disorder

Idea 3  Appearance and reality

Idea 4  Creativity vs Rationality

Possible resource:  http://www.rsc.org.uk/explore/a-midsummer-nights-dream/teachers-resources/themes.aspx#imagination

And also ask each other and use your annotations to explore these questions as well!

4/9/HW/Review

HW:  Read to page 67 of a Midsummer Night's Dream and have 25 annotations by Friday.

Also, don't forget that your poetry conversion assignment is due on Monday.  It should be typed and printed.  See rubric below to review the requirements.
All Shakespeare Rubrics

4/8 HW/Review

HW:  Read to page 53 of A Midsummer Night's Dream. You should have 25 annotations total for the whole play, by this Friday when I check annotations, so continue annotating.
Extra Credit:

Write a six-line poem in blank verse (Iambic pentameter that doesn't rhyme),
OR
Write four-line poem in heroic couplets (Iambic pentameter that does rhyme)

Suggested topics-Ospreys, Shakespeare, Durango, or "what you will".

Turn into me by Friday for extra credit.

Review of class:
Lesson on Iambic pentameter and tetrameteter:
https://drive.google.com/file/d/0B_C9fVngmGpvUm9XdFpBZ2s4eUE/edit?usp=sharing

Practice writing in these forms

Review new project rubrics:
 https://drive.google.com/file/d/0B_C9fVngmGpvNUZTQW9qMjc2NVE/edit?usp=sharing

Learn about Production Roles and choose Production Roles

Viewed last scenes of the film version of A Midsummer Night's Dream

4/7 HW/Review

HW: Finish your essay, click on link below if you need to review the guidelines which you received in class:

https://drive.google.com/file/d/0B_C9fVngmGpvRFhTZDBrWDRfMVE/edit?usp=sharing

And here is an extra article to give you more ideas if needed:
https://drive.google.com/file/d/0B_C9fVngmGpvR2ltU2RaRXpRa28/edit?usp=sharing

Hard copy is due tomorrow at start of class.

Tomorrow we will be finishing the film, learning about the different roles you can play in the productions, and learning about iambic pentameter which is probably one of the most Jedi techniques that Shakespeare mastered.

4/4/HW/Review

HW:  Read to Act III. Here is an electronic version of the script if needed: http://shakespeare.mit.edu/midsummer/full.html
       
        Begin work on your Shakespeare essay, which is due on Tuesday.

        Here is the link to instructions for the essay: https://drive.google.com/file/d/0B_C9fVngmGpvRFhTZDBrWDRfMVE/edit?usp=sharing

        And here is the link for the article that can give you extra ideas for the essay:
https://drive.google.com/file/d/0B_C9fVngmGpvR2ltU2RaRXpRa28/edit?usp=sharing

Get a start on your essay, feel free to share with me on googledocs for me to give you feedback on your draft!  Also we will be performing scenes on Monday, so bring a costume piece and/or prop suitable for your character!
_Matt

4/3/HW/Review

HW:  Read to page 43 of Midsummer Night's Dream; have 15 annotations total for me to check by tomorrow.
         Bring in both a costume piece and a prop (any household object) to school tomorrow.

Review:  Finish posters

               Starter #1 :  When was a time in your life when you fell "out of love" with someone or something? Why did that happen?  Did your perception change, or did the person or thing change?

                View Escher print--which direction is 'up'?  Large group discussion on perception and reality.  Transition to discussion on perception and love.

                 Practice scenes--begin blocking out scene as a group.  Director takes notes on blocking to continue rehearsals tomorrow.
             

4/2/ HW/Review

HW:  1.  Finish your poster tonight--checked for completion at start of class         tomorrow.
          2.  Read Act II of Midsummer Night's Dream.  You should have at least ten annotations total by tomorrow.


Review:  Shakespearean insults activity :)
               Dramatic readings of your character's scenes
               Discussion of interpreting character's physical appearance and          personality
               Transferring your interpretation of the character to your group's poster

Also check out the project calendar here:
Shakespeare Calendar
If you would like to see the "big picture" of where we are going in this project.  The calendar is also listed under the "calendar" page on the left tab bar of this website.

4/1/ HW/Review

HW:  Finish reading Act I of "A Midsummer Night's Dream"
Note:  If you miss class from now on, simply check the posted wall-folder for the day that you missed in order to pick up any handouts you did not receive.

Review:
-- Read the introduction to the relevance of Shakespeare by Stephen Marche, "All the world's a stage".
--Created diagrams showing the changing relationships between Demetrius, Helena, Lysander, and Hermia from Athens to the Forest to the Edge of the Forest.
--Small group readings and annotations of Act I.