EVALUATION:

FINAL PERFORMANCE OF 'A DOLLS HOUSE' ON THE 8TH OCTOBER :

Before our performance we performed a variety of voice exercises which were  taken from voice lessons and I was able to perform these exercises to myself and create my own warm up method.

I started by laying down in semi supine and put one hand below my belly button and one hand on my sternum, at first I just relaxed by keeping my 'neck free'.

I then done different exercises that I felt were important to me,such as:

The 'ha' exercise: 

This involved me saying 'ha' with an constant rhythm whilst having one hand below my belly button and the other hand on my sternum. By doing this I was able to feel how I was using my diaphragm  in order to create the sounds and project them as powerfully as possible.  

The imaginary feather exercise:

I had to imagine that there was a feather on my lips and I had to start of with light blows of air imagining that the feather was rising with my breath and lowering back to my lips when there wasn't any breath. I repeated this until I felt my diaphragm was being used to effect.

The high and low pitch exercise:
I started of with a 'hum' sound and started with a very low pitch, this then gradually built up and resonated my whole mouth through vibration as the pitch increased to a high pitch.


As a whole the performance went really well because I was able to get into my character and really think about my character. Also after watching the dress rehearsals I was able to see the transition of my character more truthfully as it was played out in ACT 1 and ACT 2. This was very useful because I was able to believe in every aspect of that moment because I understood and was able to connect with what he would be feeling. The blocking, movements and proxemics worked really well bevauss they felt natural and I think the relationship between Krogstad and Kristine was created well through this aspect.

However I think it would have been better if I had done more work with the other Kristine in my class to talk about our different interpretations of her in more depth, this was beacuse we only spoke about her briefly in terms of what she would be like after having that moment with Krogstad as she was doing the scene after me.



STAGING:

Originally our staging was different as we used two boxes that were next to each other (seen above). I liked this staging because I thought that the use of levels really lifted the different scenes and it further was able to reinforce power struggle/ roles that are featured in 'A Dolls House'.The original idea was to be situated at either corner of the box however we then found out that it didn't really work with our scene and so we gained feedback:

• Sir said that we had to believe in the moment
• When I said 'if two shipwrecked people can reach out for each other' sir said that I should reach out to him by putting my arm on his shoulder 
• Sir said that it didn't quite work with him sitting down first whilst I was still standing on the box

By gaining this feedback I was able to go forward with my approach to the scene and it made me think about how I could use actioning in order to make the scene become more reflective in terms effecting my partner so he could effect me. 

HOWEVER...

As we explored more we were able to develop a different type of staging. This was used to effect because it summarised what the whole act was about. The staging was used to effect because I had to stay in the required/ marked out space (as seen below). With the space being marked it really benefited my scene because it almost made the scene feel more intimate in terms of having to be confined and stay in the space, this therefore links with my scene as Krogstad and Kristine haven't seen each other in years in which Kristine would be feeling trapped as she wants to tell him how she feels, it also brought about feelings and thoughts of this moment being a necessity because they haven't had an encounter in years and have so much to say to each other and have now met again in this restricted box.

Mirroring the ending position of the scene before:

I found this to be a very imaginative aspect of our act because it showed a clear transition between scenes. After one scene ended the and it made the act run smoothly so you could still 

Movements/ scene choices:

1) Moving towards Krogstad putting my arm on his left shoulder

2) Krogstad moves away and hand drops of his shoulder
3) Facing towards the right hand corner of the square looking out
4) Turn back in to face Krogstad
5) Stare into his eyes
6) Hand behind neck which then leads into a kiss
7) Forehead to forehead until there is a sharp reaction which then

EVALUATION OF OTHER GROUPS:

ACT 1: Traverse staging: Audience is on two sides of the room, facing towards each other, This is also similar to a thrust stage .

ACT 2: Normal staging

Other groups used traverse/ thrust staging, and this was very interesting as it made the scenes feel very open and therefore open to interpretation.


PROPS:




Suitcases and bags:
At the start of our act Nora is watching the end scene at the start whilst she has a suitcase and bag with her at her side. This is a very symbolic prop to have at the start of our act because it acts as a foreshadow for whats about to happen, and so when Nora is sitting on the stiars with the suitcase she is watching each scene the relevance becomes more apparent.

Letters:
These are one of the most important props in the play because they

Wedding ring: 
This was a very symbolic moment in the play because Marriage is the main theme throughout A Dolls House

At the end of the act Nora takes of her ring and asks Torvald to do the same in which he throws it on the floor. During rehearsals it was very interesting as the ring rolled right infornt of Nora who was still watching the scenes taking place, at this moment the piece came alive because it acted as a out of body expeience as Nora was looking in on the decisions she had made  



Bird cage:

The bird cage was above our act whilst we were performing and this was very important as it signified aspects of being trapped, confinement, 

Nora felt like she was a bird in a cage and the fact that  












REACTIONS:
Me and my partners reactions were both naturlistic and real but perosnally for me I was able to beelive in the truth of that moment and therefore i believe in the intimate moment that Kristine and Krogstad shared between them as the necessary reasons for this became even more clear in comparisons to what it felt like in rehrsals. due to the amount of history they share.

COSTUME:

My costume felt really truthful and i believed in it, as i felt like i was a woman from the 19th century. This then effected other aspects such as they way i walked around the room, for example I instantly found my shoulders being quite back and my posture being upright due to the little heel on my shoe and alongside this the skirt felt   

My modern take on my character; Long black maxi skirt,
with a white blouse, and 'brogue; type shoes' with my hair in a bun

Women in the 19th century; Long dress with umbrella and hat

Men in the 19th century, Norway

Long, black maxi skirt with white blouse and 'brogue' type shoes. This is the type of costume that i imagined Kristine to have as she comes across/ has a simple and natural image.


CHARACTERIZATION:
Posture: I was upright and used my hands to emphasis my posture as they were clasped together against my stomach and also by me doing this it made me feel taller which therefore made height as they were clasped together against my stomach.

Voice/ Speech: My speech was clear and i was able to vary my tone of voice at various points

GIVEN CIRCUMSTANCES:
'Party upstairs- reaction after the kiss
The idea that they will be coming down- pace and rhythm quickened
Letter is still in the box- 'pointed to the box'

ACT THREE:

• Late at night
• In the Helmers household
• Party is taking place upstairs and so there's the idea that they will be coming down and so the pace and rhythm needs to quicken 
• Reaction after the kiss
• First time they have been alone together in years 
• 'They try to control their volume of their speech throughout' 
• Letter is still in the box 'Pointed to the box' 

MEMORIZATION, PREPARATION
Are all the lines memorized?
Is all the movement prepared?
Are all clues executed correctly?
Are costumes used?
Are props used?
Is there a suggestion of a set?

MOVEMENT, BLOCKING

Is the stance solid?
Is the walk appropriate?
My walk was appropriate to my character as she took her time and had strong, intentional motives
Is positioning correct?
Is blocking well-executed and memorized?


CONCENTRATION:





Throughout each scene we were all present on stage and as you can see we were all situated around the edges of the stage in an 'L' shape, this was very demanding as we had to sit in the chair for ages have direct focus and concentration to the audience and to the various scenes. This required allot of dedication as we had to stay in character but actively. For example if there were moments that related to or linked with our character we were able to watch and react subtly.



Does the actor become flustered?

ARTICULATION, DICTION
Are the words spoken clearly, precisely?
Are the word endings pronounced?
Is a dialogue or accent used?
Is the speech pattern appropriate for the character?

PROJECTION:
I was able to vary the way in which i projected my voice at certain points
Is the voice audible, but not strained?
Is the volume consistent?
Can ends of phrases be heard as well as beginnings?

EXPRESSION, CHARACTERIZATION
Is it appropriate?
Is it consistent and complete?
Is it believable?
Is it imaginative, original?
Is there interaction with other characters?
Is there ensemble acting?

RATE OF SPEECH
Is it appropriate?
Is it too fast or too slow?

POISE, STAGE PRESENCE, APPEARANCE
Does the actor appear to be comfortable on stage?
Is nervousness apparent?
Is the actor dressed correctly for this part or assignment?