DEVELOPING PARTICIPATORY APPLIED PERFORMANCE PROJECT

WEEK 5

FIRST REHEARSAL

The session was to take place in USS. But wasn’t sure so I ended up at half-moon. So I joined the group a bit late, they were going throw the script and developing/drawing strategies of creating a participatory performance.

The group shared they ideals as well as showcase what we had wanted to do. During the discussion. The group agreed to:

  • We can use songs
  • cancel all the Bilingual words and work with the English words,
  • Use costumes
  • Incorporate our languages as we had a ‘bilingual’ theme to factor
  • Audience participation

We start to develop action to the script/story using the techniques from Drama lessons for five to eleven year olds like collective storytelling, hot seating, improvisation, sculpting, still image among others. It was exciting to finally be able to put what we have been learning to practice and for the factor that our tutor had found us a partnership with profession practitioners

We then had liselle lead us through actual practical’s using Process theatre. We were paired up and asked to pick a scene in the story and create still images. We were then asked to add words and lastly movement and emotions

 

PRECIS

THEATRE FOR YOUNG AUDIENCES

Rose Bruford College’s Theatre for Young Audiences Centre, was launched in April 2011 by its Patron David Wood. The centre is chaired by Jeremy Harrison who is Subject Specialist for MA in TYA and Programme Director of Actor Musicianship BA (hons) actor training programme.

The centre has links to TYA-UK. Paul Harman and an international advisory panel form a steering group. Stuart Bennett of London Drama was part of this group until his death in January 2015. The TYA centre aims to be both an advocate for the sector and a resource for practitioners, scholars and students interested in this area of theatre practice. Output will focus on practice, making sense of its location in one of the country’s leading drama schools.

Rose Bruford College has a long-standing relationship with the TYA movement and the centre is part of strategy to strengthen that relationship.

The Centre includes a range of resources including: links to archives, organizations and practitioners both within the UK and internationally; and accounts of a range of practical research projects. They have an archive attached to centre, which can be accessed by appointment, and run regular events including workshops, study days and discussions.

If you are interested in full or part time study in this area you may wish to consider our MA in Theatre for Young Audiences or our actor training degrees in Acting and Actor Musicianship which include a module focusing on TYA.

 

 

 

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