Site Specific Mini Task

In this essay I am going to evaluate and discuss roles and objectives to complete a site specific performance and the effect it can have on the actors and the audience.

My site specific piece was loosely based on Claire Dowie Adult child dead child; I knew that I wanted to base my piece around the play ground at the park, so therefore a child was the character I wanted to portray in the piece. Once my idea was discussed I was recommended to take a look at Adult Child Dead Child and see if the text would relate to the vision of my piece. As I read through the text I highlighted certain parts that I felt I could interpret into the piece and benefit my performance. My target audience could vary from different age groups from 4 years old and upwards. The younger audience would be able to interact with the playground and get involved in the performance just like I did with the audience who watched that day; asking them to join me on the swings and push one another. As well as my character being a child they can relate to my mannerisms, characteristics and tone of voice. Whereas an older audience could understand the language of the text and know what the piece is actually about, identifying the story and somehow finding out how they can relate to the performance. The response to my piece was; it was very well acted and that I took my audience on an emotional journey which was my main goal for the piece.

The venue we had was really beneficial as there was so much we could do with the whole area of the park. As it was outside and very cold, there were a lot of factors to consider in terms of us as performers acting outside for two hours as well as the audience members standing for two hours in the cold. It affected our costume as we had to adapt them to be warm and layered but so they suited our characters, the way we spoke having to project our voices as we were outside and there is a lot of back ground noise in a park. Also not letting the cold affect the voice, making sure it is as clear as if we were performing inside a warm studio. I think having it outside was a good learning experience as I have never performed outside, that time of year on a scale so big, so it helped me as an actor prepare for what you have to consider and do when performing outside. I have gained more perspective on how hard it actually is and how much it can affect a performance and how it is up to you to not let things like the weather interfere with how you performance is meant to be.

My objective for the performance was to perform something I have never done before in the style of an interactive performance. In the beginning my thought process was to just have the playground as a really effective visual aid but as I began to rehearse in the space I had the inspiration to get the audience more involved as I thought since I am using the apparatus why not let the audience do the same. I wanted my character to be believable and likeable so as I shared my story it became real and relatable to my audience. I wanted to convey the vulnerability of a child’s mind but also an intelligence that they have beyond their years. I wanted the performance as a whole to be a total contrast as the audience saw each piece, so it wasn’t as if the same type of pieces were put together so one emotion was felt at the same time. I wanted it to be a range of emotion within the space of 10 minutes of each other. As I portrayed the role of the tour guide on the second half of the performance I just wanted it to break up the silence and awkwardness when walking from one piece to another when there was say a 5 minute gap between the walk to each performance. I wanted to keep the audience entertained and not make them feel as if they were just walking to a different part of the park so they feel disengaged.

We put together a life size mind map of the whole performance, creating a map of the park and planning where each piece was going to be within the park and what order it was going to be in, creating a running order that made sense and also gave those that were in more than one piece time to get ready for the next one. We had several walks around the park to identify which areas suited everyone’s pieces as well as figuring out how long it would take for the audience to get to each performance. Discussing the themes and what each performance entailed gave us the insight as to how the performance would structure as a whole and give us an idea of how smoothly it would run.

The interaction in my performance went really well as when I suggested that an audience member join me on the swings and help push me they all raised their hands to have a turn. Also when I asked them to follow me into the cupboard everyone made sure they did and got involved which showed a positive reaction to my performance. My objective didn’t change as I knew that I wanted to have my audiences interacting with me, I think if I did the piece again I would have the audience interacting even more and take advantage of the whole play area.

I think overall our objectives were fulfilled as the feedback we got was very positive all around and there were no comments as to how long it took walking from one piece to the other or the fact that the weather was so cold that they wanted to get inside rather than watch the performance. Everyone had contrasting pieces but because it was a site specific performance it didn’t matter that there was a direct link between them all. I think our objective was to entertain and show a diverse range of performances but if the audience were different and not who we were expecting I think the outcome would have been different. If it was delivered to a group of ‘non actors’ I think the response may have been different because I find that there is a lack of appreciation as to what we as actors do, I don’t think a lot of audiences would stay in the cold for two hours to watch a few performances around a park that they know nothing about or may have never heard of. I think our objective then would be to cater to the needs of what we know the audience would want to see as well as changing the time of year/ day the performances would take place.

My role within the project was to overall keep the performance running smoothly as a whole, as it was my idea to create the life size mind map to structure the performance so it would make sense and make sure there wasn’t too much of a gap when walking from one performance to another. As I also conducted the second half of the tour it was my responsibility to keep the audience entertained on their way to each pieces keeping them engaged by interacting with them and asking them questions so it didn’t feel like a bore walking to each others performances. I think in future projects I would prepare more for the venue itself and be more organised when it came to everyone’s pieces in terms of when there are cancelled performances or people are performing back to back from one to another. Making sure there is a back up structure in place in case it ever happened on the day at the last minute. Also having more preparation for the weather, taking into account the different ways it can affect your performance.

To conclude I feel that site specific is a beneficial piece of theatre that can convey and give a different perspective to a performance and change the dynamic of it completely. I think it is a beneficial way to apply theatre technique whilst adapting it to the outdoors to create a performance that can portray a piece in a new direction than if it were to be performed inside a theatre. In future projects I fell that I can take more of an initiative and take on a job role and responsibility that can benefit the performance but also caters to my own experience and strengths. As I am a visual learner, creating the visual mind map was my way of understanding how a performance such as this can work and become a structured site specific piece. I will consider my target audience and cater to what I think would benefit me as well as them as spectator or even spec actors if I want them involved within my piece.

Edge Mini Task

In this essay I am going to understand techniques used to create material for a devised performance and discuss the various techniques used to create a collaborative piece as well as conveying the various aspects to take into account and different directors and practitioners who refer and relate to the devising process.

Devised performances can be used for anything and be performed anywhere. As it is devised, the inspiration for the piece they want to portray is created from a certain topic or subject of the performers/directors/actors choice. But the ideas are completely original and have no direct guidelines to follow as to how and where they should be performed. A lot of devised performances are based around political, social and cultural events and it enables those who want to spread a message across to the public based on a particular issue in any way they like. Theatre is very controversial in this day and age and there is a lot more freedom to be able to express and say what you want, no matter the vulgarity or offensive opinions or references. Devised performances can also be used in schools, colleges and universities as well as in contemporary theatre companies focusing on a specific subject that is needed to be identified within that area that they may benefit from.

Depending on the piece, you can then identify and choose who you’re target audience is going to be, e.g. In a school there is a lot of bullying between a group of girl aged between 12 and 13 years old, so a performance is created based around bullying to convey a message to pupils at the school within that gender and age group.

Our target audience was really open to an older audience ages 15 and over, I wouldn’t recommend it for children as it could be a bit scary for them as there is a bit of violence involved and swearing. Also for audience members who like performances that are open to their own interpretations and don’t need to have a performance that’s simple, obvious and black and white.

Improvisation is in my opinion the biggest technique overall in the devising process to achieve a piece of devised theatre. This where the basis of any performance is formed from as you start off with an idea and put that into practise by acting it out and then altering and changing it to what you want it to be. Therefore the ideas that are created for the first part of the performance can spark ideas for the next piece and give a more obvious and detailed idea of what the performance in going to entail and what the outcome is going to be. Also having a piece of text in mind that you want to use and then extracting certain parts and collaborate them together with your own ideas to turn it into something different. Using the text as a guideline will help you have a starting point from which the basis of the piece can then progress further and new ideas are created from that first part of the text. Director Katie Mitchell likes to research the writer of the piece she is performing to get a better understanding of and background knowledge of the play, to see where the inspiration from the writer has come from that then relates through the play itself.

Physical theatre is also another technique that is a very effective way of portraying a particular scene or emotion but in a completely different way and can add a contrast to the overall piece as it brings something completely different to the way of performing which a lot of audiences aren’t used to. Physical theatre can be anything so you don’t have to be skilled in dance and movement to be able to perform it to the best of its ability. Simple movements can be just as effective as huge lifts and back flips if rehearsed properly and there is discipline to the technique.

Frantic Assembly theatre company created Chair Duets which “present a very physical scene of touches, embraces, flirtations, rejections or placed at a quite a mesmerising speed. For it to work best we have found that it pays to withhold this information , this context, as it gets in the way of the participants achieving the speed this scene requires. If the task for them is just to achieve the choreography as fast and cleanly as they can they will not get bogged down in acting the context”. Chair duets is something I have performed before and found very interesting in my point of view from someone who never really did a lot of heavy based physical theatre, whereas this in particular was something completely different, by using simple movements to convey a certain relationship you want to show with your partner in the piece, you are in unison with one another, have every move defined and sharp, once sped up is very effective and eye catching to watch.

When we first started the process of EDGE all we knew was that it was about the edge and it had to be thirty minutes long. First we came together as a group and discussed and wrote down different ideas we wanted to portray in the performance and what we wanted our piece to entail; a comedy with a hint of seriousness, a play within a play, base part of the characters on ourselves. At first when we took what we had on paper and put them into practise, we chose to do a play within a play and base the characters on parts of ourselves and just intensify those characteristics. It worked at first but as we tried to move forward and progress the ideas just didn’t make sense and there was no justification as to why the scenes in particular would happen. We wanted certain parts to be quite natural and improvised and different every time we did it, but they just seemed more acted and un-natural than ever. The play became boring and had no real purpose so we decide to scrap the ideas altogether and start fresh.

The inspiration for our EDGE piece was due to Josh T really, as he wasn’t present at the time the new idea came about, it was just us four girls. So we thought why not have the piece based on four women and the empowerment of having women be the centre of the piece driving it forward. As we wrote down a few ideas, we got it up on its feet straight away using the ideas we had written down as a basis and then improvising the scenes that then lead to inspiration for the next. The initial idea was the have four chairs on stage, but using them in more creative ways than just to sit on them, have different levels, so as an audience member it created an instant picture with us all there in different positions. The more we just acted on impulse and went with it the ideas just began to flow and within two hours we had practically created the whole play, compared to doing two scenes in a whole week. The motivation to complete the piece was there as the ideas had structure and there was an underline reason that drove the play forward.

To conclude I feel that devised performance is one of the most beneficial ways in which an actor can truly show their potential and their express their skills of imagination and improvisation. I believe that you cannot function as an actor without being able to improvise it’s the very basis of what acting is and where the best ideas I feel come from any great performance. Devising is about being able to have a general idea of what you want to illustrate and then having the skills to improvise the performance and then using the techniques obtained to give it structure and discipline to transform it into a proper well thought of performance.

EDGE gave us the opportunity to put what we have learnt into practise, applying techniques e.g. back to the audience, projection, objection and outcomes for the scene and give a good performance solely formed from what was in our minds all along. But using our imaginations and collaborate together to figure out what works, what doesn’t and finding the balance between having really good ideas and having a platform in which the performance can grow and improve each rehearsal and identify what is needed to make it better and a worthy performance. For future reference I would definitely make sure to not have too many ideas at once as there just isn’t enough of a structure to have them all make sense within the same story. Be constructive to identify when I don’t understand a particular reason for a scene, have an idea and got with it because if it goes wrong you can always try and again and correct it, trial and error. I have learnt that inspiration does come from anywhere so once I know I am doing something like this again, I know to take note of what’s around me as that particular morning when I am on the train and I hear a conversation that could make for a really interesting performance. I feel that I am good at gathering ideas and applying them with techniques but sometimes I struggle with polishing everything off and going from it being a good piece to a great piece. I think EDGE has helped me identify that in myself and realise and think more about the objectives and motives within a scene, instead of just having a scene because it’s funny. Research the possibilities of what makes a performance worth watching and how to captivate the audience with what you want to portray.

Bibliography

Websites

http://books.google.co.uk/books?id=MPF5RibOe_QC&pg=PA140&lpg=PA140&dq=frantic+assembly+chair+duets&source=bl&ots=9bulMCUY_V&sig=p4baXlm0A-nXnO9Cu6APl3APymI&hl=en&sa=X&ei=rJ0XUeqhD-HV0QWF8IDoDA&ved=0CEQQ6AEwDQ (Accessed 9/02/13)

Books

Mitchell, Katie (2009) The Director’s Craft. London

Thursday 7th February 2013

We made really good progress with "A Day In The Life" this week creating another 5 scenes. So now we have 7 scenes so far in total, I think it's going to be really interesting and nothing thats been done before. As well as performing it to the best of our talents and abilities we also want to get as much information out there as possible about the business and what its really like being an actor. Make it not just really good performance but so we live up to the whole point of why were creating this piece in the first place. We want to show the harsh reality of what it's like, how professional you need to be, what you have to go through to become remotely successful. Whilst still struggling to pay bills, work a normal job and balance other normal life.

I like to make sure that we apply the techniques of theatre and really pick at the little things that others wouldn't notice to make the performance smoother and more roundly polished. Little things as not facing your back to the audience, projection, keeping your hair off your face so we can see every facial reaction. Not having predictable blackouts on stage to prepare for the next scene, instead carry the set in with you to keep it fast paced and interesting.

Tuesday 5th February 2013 The Gilded Age

I delivered my historical context presentation on the Gilded Age, I think my presentation went really well and I think everyone enjoyed the task I set them. I just needed to make sure the information relates to now in modern day as well as in the past.

The "Gilded Age"

Rapid economic growth generated vast wealth during the Gilded Age New products and technologies improved middle-class quality of life

Industrial workers and farmers did not share in the new prosperity, working long hours in dangerous conditions for low pay

Gilded Age politicians were largely corrupt and ineffective

Most Americans during the Gilded Age wanted political and social reforms, but they disagreed strongly on what kind of reform

Mark Twain and Charles Dudley Warner were the first to call the years after the Civil War the "gilded age." Struck by what they saw as the rampant greed and speculative frenzy of the marketplace, and the corruption pervading national politics, they satirized a society whose serious problems, they felt, had been veiled by a thin coating of gold.

During those years, America's economy did grow at an extraordinary rate, generating unprecedented levels of wealth. Railroads, and soon telephone lines, stretched across the country, creating new opportunities for entrepreneurs and cheaper goods for consumers. The first Transcontinental Railroad opened up the far-west mining and ranching regions. Travel from New York to San Francisco now took six days instead of six months. But a nation that had long viewed itself in idyllic terms, as a nation of small farmers and craftsmen, confronted the emergence of a society increasingly divided between the haves and the have-nots—a society in which many poor workers struggled just to survive while an emerging industrial and financial aristocracy lived in palatial homes and indulged in opulent amusements. Some Americans celebrated the new wealth, others lamented it; all could agree that profound changes were taking place in the country.
Of course, many of Twain's contemporaries disagreed with his characterization of the period. Social Darwinists like William Graham Sumner argued that the turbulence and casualties of economic development were unfortunate but necessary. Development depended on competition; economic and social progress brought failure as well as success. Economic inequalities were not only inevitable, they were essential to material progress. And any government interference with the natural course of social and economic development would impede, not advance, progress
Events
1876 Alexander Graham Bell invents telephone
1879 Thomas Edison invents light bulb
Jane Addams - Social activist; founded Hull House in 1889 to assist poor Chicago immigrants
W. E. B. Du Bois - Black historian and sociologist; lobbied for equal economic and social rights for African Americans
Urbanization
The Gilded Age saw the United States shift from an agricultural to an urban, industrial society, as millions of Americans flocked to cities in the post–Civil War era. Nearly 40 percent of Americans lived in urbanized areas by 1900, as opposed to 20 percent in 1860. Many young people left the countryside in search of new wonders: cities were at the height of modernization for the time, with skyscrapers, electric trolleys, department stores, bridges, bicycles, indoor plumbing, telephones, and electric lamps. Industrialization and the rush to the cities led to the development of consumerism and a middle class.
Mass Immigration
In addition to this major shift from rural to urban areas, a new wave of immigration increased America’s population significantly, especially in major cities. Immigrants came from war-torn regions of southern and eastern Europe, such as Italy, Greece, Poland, Russia, Croatia, and Czechoslovakia. This new group of immigrants was poorer and less educated than the Irish and German immigrants who had made the journey to the United States earlier in the century. By the early twentieth century, more than a million immigrants were entering eastern U.S. cities on a yearly basis. Many immigrants could barely make a living, working as unskilled labourers in factories or packinghouses for low wages.
Nativism
Many nativists—Americans descended primarily from Irish and German immigrants (but not exclusively those groups)—claimed that the newly arriving southern and eastern European immigrants would not be able to assimilate into American society. They saw these immigrants as illiterate and poor, unable to learn English and with little experience living in a democratic society. Many of America’s Protestants also disliked the fact that many of the new immigrants were Catholic, Eastern Orthodox, or Jewish. Many Anglo-Saxon Americans worried that eastern and southern Europeans would “outbreed” them and take over their once-“pure” race. Many nativists joined the American Protective Association to lobby for immigration restrictions; Congress conceded and eventually barred criminals and the extremely destitute from entry in 1882.
Nativists in the United States reserved special hatred for Chinese immigrants—a group that had worked countless hours of labour at low wages, especially on railroad construction in the West. Unions pressed Congress to pass the Chinese Exclusion Act in 1882, completely banning Chinese immigration to the United States. Congress did pass the act, and it remained in place until 1943.
Urban Slums
The sudden influx of millions of poor immigrants led to the formation of slums in U.S. cities. These new city dwellers lived in tenement buildings, often with entire families living together in tiny one-room apartments and sharing a single bathroom with other families on the floor. Tenements generally were filthy, poorly ventilated, and poorly lit, making them a hospitable environment for rats and disease.
Jane Addams and Hull House
A social reform movement emerged as a result of these worsening living and working conditions in America’s cities. Foremost among the reformers was Jane Addams, a college-educated woman who founded Hull House in 1889 in one of Chicago’s poorest neighbourhoods. Hull House provided counselling, day-care services, and adult education classes to help local immigrants.
The success of Hull House prompted Lillian Wald to open the Henry Street Settlement House in New York in 1893. The combined success of these settlement houses prompted other reformers to open similar houses in other eastern cities with large immigrant populations. In time, women like Addams and Wald used their positions of power to fight for women’s suffrage, temperance, civil rights, and improved labour laws.
J. P. Morgan - Wealthy banker who saved U.S. government from bankruptcy in 1895 by loaning the Treasury more than $60 million
Black Civil Rights
In 1896, the Supreme Court upheld the policy of segregation by legalizing “separate but equal” facilities for blacks and whites in the landmark Plessy v. Ferguson decision. In doing so, the court condemned blacks to more than another half century of second-class citizenship.
Despite the ruling, African-American leaders of the civil rights movement continued to press for equal rights. Booker T. Washington, president of the all-black Tuskegee Institute in Alabama, rather than press for immediate social equality, encouraged blacks to become economically self-sufficient so that they could challenge whites on social issues in the future. The Harvard-educated black historian and sociologist W. E. B. Du Bois, on the other hand, ridiculed Washington’s beliefs and argued that blacks should fight for immediate—and overdue—social and economic equality. This dispute between Washington and Du Bois encapsulated the divide in the civil rights movement at the end of the nineteenth century and the question as to how blacks could most effectively pursue equality—a debate that lasted well into the civil rights movement of the 1960s and continues today.
In the late 1800's, American society began to burst with cultural activity. After the Civil War and the Reconstruction, Americans were eager to return to their normal lifestyles. The period that followed, however, was quite different from what the country was used to. During the war, many pushed hard for a rise in industry, leading to an explosive industrial revolution far beyond what people had expected. America's business and economy had boomed, and, as the new century approached, many had a new outlook on life. They were eager to escape the dull regiments of both the past Victorian era and the new urban lifestyle. This was easy for the upper and middle classes, both of which were growing due to the rapid increase in industry. It was great news for entrepreneurs and business people of the time, because there was money to be made in this desire for amusement. Of course, this was not the whole story of the new Gilded Age, but it was definitely an era of growing leisure time and the business that came along with it.

One of the most popular forms of entertainment during the Gilded Age was theatre, particularly Vaudeville, which was a type of variety theatre prominent in late 19th century America. Of course, similar types of variety shows had existed much earlier, before the 1830's, but they experienced a growth thanks to Benjamin Franklin Keith, "the father" of American Vaudeville. He spent his earlier years working in travelling shows and circuses, before establishing his own museum of oddities in 1883. His success allowed him to finance the building of his own theatre, and he became the subject of his own "rags to riches" story, one of many that were so common in the Gilded Age. Keith was a savvy businessman who knew how to draw in new urban audiences. He favoured the idea of the "legitimate" stage, free of vulgarity, and developed the policy of consecutive performances that created the illusion of thriving business to ensure patrons, which made Vaudeville what it was. It featured a large variety of diverse acts, and was great entertainment to those coming from cities that were assured of quality by large numbers of people and were used to constant buzz.
Travelling entertainment was also extremely popular during this period. One such display was the circus, especially the Barnum & Bailey Circus, which was advertised as "The Greatest Show on Earth." Much like those of today, it featured an array of animals and performers gathered under a big tent. P.T. Barnum, one of its founders, started out as the owner of a freak show. He was keen on advertising and also knew how to attract audiences, skills he needed in order to compete with The Ringling Brothers' Circus, his main competitor. That show was also quite a spectacle, featuring lavish scenery and thousands of performers. The two each strove to be recognized as the best in the world, which helped to make the circus the "show to see" when it came to town.
One more prevalent travelling show was the Chautauqua, which blended education with entertainment. When its founders realized how popular their exhibition had become, they knew they had something good, and the one show expanded to locations throughout the country. Large tents were set up for huge audiences who came to hear orators, comedians, and musicians. Eventually, the shows were run by a few agencies that booked tickets far in advanced, which gave those companies a big payoff as well.3
another form of theatre that had its beginnings in the Gilded Age was the movies. They emerged due to Thomas Edison's kinetograph, a new type of camera that could photograph motion pictures. At first, movies were very short and contained no plot structure. Due to their growing popularity, however, nickelodeons, the first permanent movie theatres, began to spring up. Soon after, glamorous movie palaces, such as The Roxy in Los Angeles, were built to mimic the grand style of real theatres. Filmmakers began making movies longer and more sophisticated in order to please their audiences. By the early 1900's, there were already 10,000 movie theatres throughout the country.

In 1899 The Bayer Company introduces "Aspirin," an acetylsalicylic acid designed to reduce pain.

In 1901 Theodore Roosevelt is sworn in as president of the United States after President William McKinley dies eight days after being shot by anarchist Leon Czolgosz.

From 1901 it was then called the progressive era.

The years between 1868 and 1901 can, with some justice, be labelled a "gilded age." A glittering façade did indeed cover a host of social and economic problems. But merely labelling the period a gilded sham, à la Mark Twain, doesn't truly capture all that was going on. These years saw Americans struggling to come to terms with the size, wealth, political needs, and new labour relations of their changing nation. Beneath the nation's golden façade—whether we think that façade fairly captured the underlying reality or not—Americans were already at work on the answers to the social and economic challenges of the new era.

In today’s society theatre has changed and evolved so much and expanded deeply from vaudeville theatre and circus acts. Theatre has expanded and goes beyond performances that are made just for enjoyment. Theatre is a new way of expressing views on social events and political issues that people feel strongly about, without having to be involved with the government to share their thoughts and opinions on the subjects.

ENRON

In just 15 years, Enron grew from nowhere to be America's seventh largest company, employing 21,000 staff in more than 40 countries. But the firm's success turned out to have involved an elaborate scam. Enron lied about its profits and stands accused of a range of shady dealings, including concealing debts so they didn't show up in the company's accounts. As the depth of the deception unfolded, investors and creditors retreated, forcing the firm into Chapter 11 bankruptcy in December. More than six months after a criminal inquiry was announced, the guilty parties have still not been brought to justice.
In 2009 British playwright Lucy Prebble and Rupert Goold created a play based on the scandal.
Review of the play:

The Guardian Wednesday 23 September 2009

After the high praise earned in Chichester, there was always the lurking fear the Enron bubble might burst on transfer. But, although it had more room to manoeuvre at the Minerva, Lucy Prebble's play and Rupert Goold's production are so strong that they survive the move. What they vividly offer is not a lecture on corporate madness but an ultra-theatrical demonstration of it at work. The play shows how the Texan energy giant, Enron, moved from a model of the future to a bankrupt disaster with debts of $38bn. Prime mover is Jeffrey Skilling: a Marlovian over-reacher who boldly announces "we're not just an energy company, we're a powerhouse for ideas". His basic idea is to trade in energy as well as supply it. But, as his dreams expand to include video, internet and even the weather, the gap between stockmarket perception and reality grows ever greater. As profits fail to materialise, Skilling turns to his sidekick, Andy Fastow, to create shadow companies to conceal mounting debts. Once the market loses confidence, however, Skilling's schemes are revealed for what they are: a fraudulent fantasy.

It could all be dry as dust. But the pulse and vigour of play and production stem from their ability to make complex financial ideas manifest. Everything is made visually apprehensible. Thus the complicity of market analysts in Enron's over-evaluation is captured by turning them into a close-harmony troupe. The Lehman Brothers become Siamese twins locked into a single suit. Best of all is the scene where Fastow explains his system for funnelling Enron's debts into shadow companies. Even financial innocents can follow this as Fastow shows boxes encasing ever smaller boxes lit by a flickering red light symbolising the basic investment. 
This is capitalism exposed as con-trick and illusion. 
Goold's immaculate staging, Anthony Ward's design and Scott Ambler's movement illustrate the whirling kaleidoscopic energy that is part of the dream. But Prebble also creates plausible people, and Samuel West is hugely impressive as the self-deluded Skilling. It is difficult to feel sympathy for such a man, whose deregulation policies did so much damage, but West reminds us of the global complicity in money worship. Amanda Drew as his rival, Tim Pigott-Smith as Enron's avuncular founder, and Tom Goodman-Hill as the greed-driven Fastow, haunted by the scaly raptors which symbolise the shadow-companies, are also first-rate. But the triumph of the evening is that it renders Enron's rise and fall in exciting theatrical terms, and leaves us with the feeling that, as the bonus culture thrives while others lose their jobs, the lessons of this vast collapse have still to be learned.


As this huge scandal was turned into a play, it gave people the answers that were lacking when the scandal first came out. This piece in particular conveys the freedom of speech and how anything can be transformed into a performance for the theatre. I think it was important that it was turned into a live theatre piece instead of a film because it gives a more effective account of what happened and the people who were effected, it brings it more to life being on stage in front of an audience who can voice their response there and then and hear the impact the people in the story have on the crowd over looking this tragedy. 


Comedians have one of the biggest influences on the modern world and their opinions they get to express whilst being on stage in front of thousands of people. Most of their material is based on today’s economy, the government, the recession but it gets transformed into a humour  and light heartedness that helps people forget that it is a real problem and for one night you get to just laugh at life itself and the bad things that happen in it. 
I think the circus has changed dramatically over the years as now there are so many new laws in place for animal rights so animals are entrapped and forced to perform tricks that may endanger them. Whereas 100 years ago people were none the wiser about the dramatic impact it had on animals and their health and living, they were only really in that line of business to make a wealthy profit as the circus is something really on the wealthy could enjoy. 


Now in this day and age we have circuses but they are performed by humans with various skills in; acrobatics, trapeziums, equestrians, tramp lining etc. Safari Parks and zoo’s are the new animal version of the circus, you can view them in a natural habitat and appreciate them for what they are and know that they are being properly taken care of. In a sense you can get more up close and personal to the animals and become more amazed at them for just being themselves, without performing tricks. 
Variety shows are the modern age for making a name for your self in the business of performance. The X factor, Britain’s got talent, American idol, the royal variety show all offer a chance to express and put you talent out there in front of the public. It is not just for the wealthy and upper class as the entries are free people from all different types of backgrounds and cultures can apply to these competitions without worrying about the cost and upkeep as it is all paid for you. 


The task I set the group was for them to be able to express through a performance what they would want to change in the world if they could. But to also keep it fun and give them opportunity if they wanted to see what they come up with creatively just on the stimuli I gave them. They came up with the idea that one campaign wanted to change Sainsbury’s shopping bags from orange to purple. I asked them out of everything they could have picked why did they choose that particular topic, they said that they wanted it to be a completely random topic, but something that certain people would actually care about and make it an issue if that ever came about. 



My task:

                                                 Mission Statement

You now have the opportunity to create your own “new era”.

It can be whatever you want it to be, your own set of rules for the whole world, for example “I am stating that from now on, by the law of Kate subsection 3 verse 20 under “because I said so” Jelly beans must be in every vending machine in every office building”.

You have to create a political debate between two parties, name each party whatever you want and try and convince us (Ellie and I) which party we should vote for.

BUT! These are the conditions, you MUST include the following:

·         One party is corrupt but you cannot reveal which one it is, we have to try and guess

·         One party is set in the Elizabethan time

·         One party is set in deep south of Texas

Characters you must have:

President x2

Interviewers x2

Protestors

Security Guards

Other than this the stage is yours, the scene can be whatever you want it to be. Think outside the box, the world is your oyster!

 Bibliography

Websites

http://www.sparknotes.com/history/american/gildedage/ (Accessed 24/01/13)

http://www.shmoop.com/gilded-age/ (Accessed 25/01/13)

http://www.123helpme.com/entertainment-in-the-gilded-age-view.asp?id=156816 (Accessed 25/01/13)

http://news.bbc.co.uk/1/hi/business/1780075.stm (Accessed 9/02/13)

http://www.guardian.co.uk/stage/2009/sep/23/enron-review (Accessed 9/02/13)