Unit 7

Unit 7: Prep for specialist study

Since I have started college I can say that I have developed various amounts of skills while doing either the Shakespeare project that I am currently working on or our country’s good project I have done last term. Doing the Shakespeare project I believe that I have developed my vocal skills well because in other plays that I have done they were not written in a very different way but simple English but this Shakespeare play is slightly difficult as it is written in old English that is not very easy to pronounce nor understand and I feel that working on this play has helped me a lot  with my pronunciation especially because I have a lisp so I struggle to say certain words and Shakespeare uses a lot of ‘th’ and words with ‘ s’. In lesson Rob helps us to develop vocal skills by doing warm ups at the start of the lesson, we do exercises to work the diaphragm such as saying “Oo oh or” in a deep voice because if we have a scene in which we have to shout doing that exercise could be very helpful.

Another skill that I have learnt is using my memory. You may wonder how is using your memory a skill but in drama you have to use it in order to remember your script and any monologues that you need to learn at the top of your head.  It is difficult to memorise a lot of things at once especially if you have a really long play it is hard to remember some of the lines that is why it is good to learn them in chunks for about 30 minutes a day because if you push yourself to do longer than that you’ll end up frustrating yourself.

One other skill that I have learnt is articulation. It is very important to pronounce the words as clearly as possible because your audience need to understand whatever you are saying. Whether you are talking fast or slow your mouth needs to be moving correctly to pronounce anything you want to say correctly.

Unit 6:Shakespeare project.

 Many young students like myself may find Shakespearean plays quite boring as it uses olden day English through out most of the play which is not a fun thing to listen to nor easy to understand. As a modern day actress I am more interested in stuff which is modern as I find it more intriguing but in the industry you have to overcome that and be versatile with what you do. To assist with my progression on this assignment I need to take the Shakespeare duologue that I am given and love  it even if I
may hate it, I can not let it be obvious that I do not like the play I am doing because then I would not be able to perform in the right manner.

Monday 11th January 2016

I got given my duologue which is called much ado about nothing. I am Beatrice and Segun is Benedick in this play Beatrice is angry at the way Claudio has treated her cousin  (hero) so she persuades Benedick to take revenge and kill his good friend but he refuses which makes her question the love he has for her.


Friday 15th January 2016

In this lesson we were playing a quiz to start off then we got into the work and had to make a Shakespeare leaflet talking about what we would do to advertise it and that's what we done below. In the second half of the lesson we performed our pieces in our pairs to the class then rob gave us some feedback on what we should work on etc projecting our voices or if we were over acting.

Anthony & Cleopatra Duolouge.

ACT I

SCENE I. Alexandria. A room in CLEOPATRA's palace.

Enter DEMETRIUS and PHILO

PHILO

Nay, but this dotage of our general's
O'erflows the measure: those his goodly eyes,
That o'er the files and musters of the war
Have glow'd like plated Mars, now bend, now turn,
The office and devotion of their view
Upon a tawny front: his captain's heart,
Which in the scuffles of great fights hath burst
The buckles on his breast, reneges all temper,
And is become the bellows and the fan
To cool a gipsy's lust.
Flourish. Enter ANTONY, CLEOPATRA, her Ladies, the Train, with Eunuchs fanning her
Look, where they come:
Take but good note, and you shall see in him.
The triple pillar of the world transform'd
Into a strumpet's fool: behold and see.

CLEOPATRA

If it be love indeed, tell me how much.

MARK ANTONY

There's beggary in the love that can be reckon'd.

CLEOPATRA

I'll set a bourn how far to be beloved.

MARK ANTONY

Then must thou needs find out new heaven, new earth.
Enter an Attendant

Attendant

News, my good lord, from Rome.

MARK ANTONY

Grates me: the sum.

CLEOPATRA

Nay, hear them, Antony:
Fulvia perchance is angry; or, who knows
If the scarce-bearded Caesar have not sent
His powerful mandate to you, 'Do this, or this;
Take in that kingdom, and enfranchise that;
Perform 't, or else we damn thee.'

MARK ANTONY

How, my love!

CLEOPATRA

Perchance! nay, and most like:
You must not stay here longer, your dismission
Is come from Caesar; therefore hear it, Antony.
Where's Fulvia's process? Caesar's I would say? both?
Call in the messengers. As I am Egypt's queen,
Thou blushest, Antony; and that blood of thine
Is Caesar's homager: else so thy cheek pays shame
When shrill-tongued Fulvia scolds. The messengers!

MARK ANTONY

Let Rome in Tiber melt, and the wide arch
Of the ranged empire fall! Here is my space.
Kingdoms are clay: our dungy earth alike
Feeds beast as man: the nobleness of life
Is to do thus; when such a mutual pair
Embracing
And such a twain can do't, in which I bind,
On pain of punishment, the world to weet
We stand up peerless.

CLEOPATRA

Excellent falsehood!
Why did he marry Fulvia, and not love her?
I'll seem the fool I am not; Antony
Will be himself.

MARK ANTONY

But stirr'd by Cleopatra.
Now, for the love of Love and her soft hours,
Let's not confound the time with conference harsh:
There's not a minute of our lives should stretch
Without some pleasure now. What sport tonight?

CLEOPATRA

Hear the ambassadors.

MARK ANTONY

Fie, wrangling queen!
Whom every thing becomes, to chide, to laugh,
To weep; whose every passion fully strives
To make itself, in thee, fair and admired!
No messenger, but thine; and all alone
To-night we'll wander through the streets and note
The qualities of people. Come, my queen;
Last night you did desire it: speak not to us.

Alls well that ends well Duolouge.

BER.
They told me that your name was Fontibell.

DIA.
No, my good lord, Diana.

BER.
Titled goddess,
And worth it, with addition! But, fair soul,
In your fine frame hath love no quality?
If the quick fire of youth light not your mind,
You are no maiden, but a monument.
When you are dead, you should be such a one
As you are now; for you are cold and stern,
And now you should be as your mother was
When your sweet self was got.
DIA.
She then was honest.

BER.
So should you be.

DIA.
No;
My mother did but duty, such, my lord,
As you owe to your wife.

BER.
No more a’ that.
I prithee do not strive against my vows.
I was compell’d to her, but I love thee
By love’s own sweet constraint, and will for ever
Do thee all rights of service.

DIA.
Ay, so you serve us
Till we serve you; but when you have our roses,
You barely leave our thorns to prick ourselves,
And mock us with our bareness.

BER.
How have I sworn!

DIA.
’Tis not the many oaths that makes the truth,
But the plain single vow that is vow’d true.
What is not holy, that we swear not by,
But take the High’st to witness. Then pray you tell me,
If I should swear by Jove’s great attributes
I lov’d you dearly, would you believe my oaths
When I did love you ill? This has no holding,
To swear by Him whom I protest to love
That I will work against Him; therefore your oaths
Are words and poor conditions, but unseal’d—
At least in my opinion.

BER.
Change it, change it!
Be not so holy-cruel. Love is holy,
And my integrity ne’er knew the crafts
That you do charge men with. Stand no more off,
But give thyself unto my sick desires,
Who then recovers. Say thou art mine, and ever
My love, as it begins, shall so persever.

DIA.
I see that men make rope’s in such a scarre,
That we’ll forsake ourselves. Give me that ring.

BER.
I’ll lend it thee, my dear; but have no power
To give it from me.

DIA.
Will you not, my lord?

BER.
It is an honor ’longing to our house,
Bequeathed down from many ancestors,
Which were the greatest obloquy i’ th’ world
In me to lose.

DIA.
Mine honor’s such a ring,
My chastity’s the jewel of our house,
Bequeathed down from many ancestors,
Which were the greatest obloquy i’ th’ world
In me to lose. Thus your own proper wisdom
Brings in the champion Honor on my part,
Against your vain assault.

BER.
Here, take my ring!
My house, mine honor, yea, my life, be thine,
And I’ll be bid by thee.

DIA.
When midnight comes, knock at my chamber-window;
I’ll order take my mother shall not hear.
Now will I charge you in the band of truth,
When you have conquer’d my yet maiden bed,
Remain there but an hour, nor speak to me.
My reasons are most strong, and you shall know them
When back again this ring shall be deliver’d;
And on your finger in the night I’ll put
Another ring, that what in time proceeds
May token to the future our past deeds.
Adieu till then, then fail not. You have won
A wife of me, though there my hope be done.

BER.
A heaven on earth I have won by wooing thee.
Exit.

DIA.
For which live long to thank both heaven and me!
You may so in the end.
My mother told me just how he would woo,
As if she sate in ’s heart. She says all men
Have the like oaths. He had sworn to marry me
When his wife’s dead; therefore I’ll lie with him
When I am buried. Since Frenchmen are so braid,
Marry that will, I live and die a maid.
Only in this disguise I think’t no sin
To cozen him that would unjustly win.