Today, I lost at zip zap boing. Again. For the third time.
Anyways, today was composed of warming up with a Jabberwockyfying activity and following up with practicing our plays. This activity had the goal of helping us forget about the literal meaning of the stuff in the Jabberwocky, and give everything our own, figurative meaning. I remember at first turning into part of the forest, a mushroom. However, when I understood the concept of being figurative, I turned into a bandersnatch, which I decided would be an angry cat. Omar and me, on all fours, started growling at each other's faces (I must say I turned into the cat for a second.). This activity helped me understand that our play should not be simply in a forest, 'The Jabberwocky's setting, but our own figurative understanding of it.
We got a lot done when practicing our play today. SInce we had to produce a small 'trailer' for Mr. Mouck, we decided to include small parts of our performance all the way to the climax, then leave the play hanging. This would be composed of the dad (Mohamed) warning his son (Lorenzo) of the dangers of love, and that he should never fall in it. Me and Sarah the JubJub Birds (women) would walk in after his father is done warning him, leaving him in a sticky situation: to love or not to love. For a second, the vorpal sword (Omar), the defense the son has just built against love from his father's warnings would let go off of Lorenzo (he has been holding on to him since the speech), implying Lorenzo's sudden temptation to ignore what his father has told him. We would then stop right then, stressing our audience with suspense! The however more important part of this was rehearsing our stage composition and setting. We settled for a forest setting (which I now realize was a quite literal idea, but don't worry, we changed it!), combined with the father staring out the window of his house (into the forest). We thought this would give a mysterious appeal to our play. I then tried to stress stage composition, by including a sense of power from Sarah and me when we walk up to Lorenzo by facing him and appearing to be taller, plus a triangle when we actually get to him to convey maximal power. We also made sure to include Lorenzo was sitting down when his father warns him, to make him seem vulnerable to such harsh advice. To make our play more believable, we are including Mohamed opening an imaginary window next to him, breathing in the fresh air (we will include more, this is just a beginning!). Expression will also be a big part of the storytelling: Mohammed must sound sad, as his hate for love has something to do with a lost wife. Since we were then short on time, we have not gotten much further (and didn't get to perform our trailer!), but I think we are on the right track to a good performance, and are applying what we have learned so far quite well.
Anyways, today was composed of warming up with a Jabberwockyfying activity and following up with practicing our plays. This activity had the goal of helping us forget about the literal meaning of the stuff in the Jabberwocky, and give everything our own, figurative meaning. I remember at first turning into part of the forest, a mushroom. However, when I understood the concept of being figurative, I turned into a bandersnatch, which I decided would be an angry cat. Omar and me, on all fours, started growling at each other's faces (I must say I turned into the cat for a second.). This activity helped me understand that our play should not be simply in a forest, 'The Jabberwocky's setting, but our own figurative understanding of it.
We got a lot done when practicing our play today. SInce we had to produce a small 'trailer' for Mr. Mouck, we decided to include small parts of our performance all the way to the climax, then leave the play hanging. This would be composed of the dad (Mohamed) warning his son (Lorenzo) of the dangers of love, and that he should never fall in it. Me and Sarah the JubJub Birds (women) would walk in after his father is done warning him, leaving him in a sticky situation: to love or not to love. For a second, the vorpal sword (Omar), the defense the son has just built against love from his father's warnings would let go off of Lorenzo (he has been holding on to him since the speech), implying Lorenzo's sudden temptation to ignore what his father has told him. We would then stop right then, stressing our audience with suspense! The however more important part of this was rehearsing our stage composition and setting. We settled for a forest setting (which I now realize was a quite literal idea, but don't worry, we changed it!), combined with the father staring out the window of his house (into the forest). We thought this would give a mysterious appeal to our play. I then tried to stress stage composition, by including a sense of power from Sarah and me when we walk up to Lorenzo by facing him and appearing to be taller, plus a triangle when we actually get to him to convey maximal power. We also made sure to include Lorenzo was sitting down when his father warns him, to make him seem vulnerable to such harsh advice. To make our play more believable, we are including Mohamed opening an imaginary window next to him, breathing in the fresh air (we will include more, this is just a beginning!). Expression will also be a big part of the storytelling: Mohammed must sound sad, as his hate for love has something to do with a lost wife. Since we were then short on time, we have not gotten much further (and didn't get to perform our trailer!), but I think we are on the right track to a good performance, and are applying what we have learned so far quite well.
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