What We Did
- We are told that we will be teaching Drama to G2 students with massive support of Mrs.Mor. I am looking forward to it, albeit worried whether I can help them boost their creativity and ingenuity through teaching drama and Macbeth.
Feedback From Mrs.Mor
- Energetically weak
- Missing important theatrical strategies and elements
- We are now going through the motions regardless of the massive amount of time we spent on training and learning about the Viewpoints, Suzuki, IGC and 7 levels of tension
- Do not be a lazy worker.
- Work intelligently.
Evidence of our creative process
Questions to Throw at ourselves
- In the performance…
- How are your 9 Viewpoints incorporated ?
- Kinaesthetic Response: As Sunhee shouts toward her witches(Stimuli), we slowly sit down, holding our cosmetics. (Response)
- Spatial Relationship: Interesting set of space is kept through the performance.
- Tempo: I’d say we have used different tempo which prevents our performance from being pedestrian.
- Repetition: Repetition of Choreography, Repetition off the mirotic
- Duration: The gaps between the lines are generally short and equal, but the moment when we are extremely still is one factor that contributes the variation of duration.
- Gesture: Choreography
- Shape: Starting Position creates a shape due to the use of different levels for each witch.
- Architecture: Cosmetics, Port, Book(Inspired from the Lion Boy)
- Any Ingredients of Great Compositions?
- Extremity: Extreme Stillness
- Revelation of Space: The use of Curtains
- Engaging the audience = Unexpected Moment
- Juxtaposition of beauty and grotesque
- WOOSH Moments
- Did we include 7 levels of tension?
- Level 1: Witches’ Lethargy when they are stolen cosmetics,
- Level 5~7: dominates Sunhee’s monologue
- Level 3: dominates the performance
- Needs to be improved
- We Need to work more on engaging our core.. which makes us exert more energy!
- Have you included Horror and fear?
- Not Clear