Brittany Measor Individual Post

Today within our lesson we worked on the creation of a scene between Horatio/Brittany with a psychiatrist to show her mental stability lowering. The aim of this scene is to establish the fact that Brittany has become so worked up with Horatio stealing her identity that she now imagines him where ever she goes and that its seriously affecting her mental health. To ensure this is successfully established we wanted to show the audience through the psychiatrist simply asking questions and Brittany attempting to answer them. This slowly builds up and results her in getting very angry and losing her temper. We used physical theatre and use in varied voice tones to show Brittany's slow break down. I feel as though worked well as we used improvisation to create the scene we have now created. We had Lauren play the psychiatrist and Rochelle and Jack wrote down the lines that we had improvised to ensure we didn't forget what we had created as that was a previous problem we had. For this I'm going to research the idea of happenings create mental disorders and that can help on the build of my character and ensure I can take anything into consideration when performing.

Drama Script

 The Drama script so far
https://docs.google.com/document/d/1Cvxr6PrMKVoaJQ66W3gHvsRBdSw_cLtvHzMz1_PQQS4/edit

NEW SCENEEE - created and posted by Lauren

When thinking about the gap we needed to fill between our MIC scene and our Final ending, I didn't think that the trial scene would work. The first time we created the trial scene it was great. We had absurdity and non nonsensical dialogue, however the second time we tried to create the scene, it was very unsuccessful. I think this was due to lack of motivation and determination, The scene its-self didn't seem to fit in with our piece anymore. Although our piece does still have some absurdity included it has definitely become more naturalistic. My new idea: I thought that in the MIC scene rather than sending cases to court why don't we look at cases and help people find HELP and if serious enough we send the cases to a psychiatrist who makes their final prediction on what to do. The idea was ....... After the MIC scene, we have a small scene of  Brittany talking to a psychiatrist (Lauren). Brittany explains everything that has happened so far to the psychiatrist including the swapping of identities. This is where everything starts to unravel and reveals itself. Danny will be walking around the scene at this time however the psychiatrist cannot see him, only Brittany(Hiratio) can. This is to show that he is all in her head. The psychiatrist see's that Brittany clearly isn't well and argues with her about the fact that it's all in her head. Brittany loses the battle and the psychiatrist sends her to be sectioned in a special home.
The next part is after the psychiatrist scene we all somehow show that were in the future in hospital beds. Brittany will be asleep in a 'hospital bed' with other patients (the rest of the cast) around her. This section of the scene will be done in silence to add tension and eeriness, perhaps like the very first scene (Nursery rhyme). Brittany will slowly awake from this bed and will sit up as if she doesn't know where she is. The rest of the patients will also start to wake up and move around in a creepy way again taken from the very first scene. This also add some absurdity. The patients will slowly move towards Brittany who will then try to escape leading her to the corridor in the final ending scene.

Not only does this idea relate to our piece it also allows the audience to question the play. Much like Brecht leaves the audience questioning themselves in 'The Good Person of Szechwan'.
Is our play just a dream?
Is Brittany mentally ill and making everything up in her head?

I hope this scene works as when i picture it in my head it looks really fab. :D

Here is our lighting and sound list - posted by Lauren , Created by Lauren and Jack, Britt and Danny

My Props - Danny

I will need:

Shaver

Bowl and Cereal, spoon

ID card

Waiting room ticket



I think that is all I need for props

My own prop and costume list - Individual post by Lauren

My own character development and research.- individual post by Lauren

Scene order

1. Nursery rhyme

2. D & B part 1

3. Land lord scene

4. Predrinks

5. Club que

6. Office

7. Calling bed bar

8. Waiting room scene

9. D & B part 1 

10. Montage scene

11. Family scene

12. D & B part 3

13.Psychiatrist scene
14.Game show scene

15.Final scene 

Brittany Measor Individual Post

Over the past week we have been putting in more rehearsals to ensure that all our devising is completed within the next week and we can just rehearse and ensure everything is on point. We discussed the characters name of Sophie Smith and decided to change it back to Brittany Measor as it then sounds similar to Horatio Freezer and will make more sense within our piece. After making this decision yesterday, we went back to scene that we have previously made and developed it further.

Unfortunately Danny and Rochelle wasn't in so we focused on a scene that Danny wasn't in and that we could teach Rochelle easily and efficiently. The purpose of the scene is to establish Brittany's life before the transformation. We called it the Family Scene. We had Brittany's family catching a train to go out for dinner and Brittany comes also, the family see her as Horatio and are wary of her presence it then continues on to a flash back of her and her family in the garden. We then use freeze frames and thought tracks to show how much Brittany means to her family and how much of an inspiration she is to them.

At the start of the lesson we were given Tim godson's devising table. We then chose two from the table and decided to focus on those elements within our scene. The two elements of devising we chose were sound and space. Within entering the train we created a small sound scape of the train approaching and getting on the train. We then used spacing to show the different between the flash back and the train. Within the flash back we used though tracking and freeze frames so each character was able to speak about Brittany and how much she means to the family as a whole to ensure the audience sympathise for her. Next lesson we will also be focusing on this scene to ensure Rochelle knows the scene and to create sympathy for the character overall.

Scene list by Jack

Scene list
Scene 1.Nursery rhyme and Physical scene
Scene 2. Danny and Brittany morning scene 1-normal gender traits
Scene 3. Getting ready for night out.
Scene 4. Club scene-swap of Identity
Scene 5. Office scene
Scene 6. Waiting room
Scene 7.Danny and Brittany morning scene 2-Start to swap gender traits
Scene 8. Montage scene
Scene 9.Family and bus scene
Scene 10. Last Danny and Brittany scene-swapped gender
Scene 11. Landlord and rent
Scene 12. MIC Scene
Scene 13. Court sentencing
Scene 14. Last physical scene.

by George

Jack(landlord): hello
Lauren: *sobbing uncontrollably* Oh hi Tony
Jack: you got the rent?
Lauren: you've got me at a really bad time again.
Jack: Don't tell me he left you again?
Lauren: *breaks down*
Jack: I brought the tissues.
Lauren: I don't have your money.
Jack don't worry about it.

Jack: hello
Rochelle: *giggling while clutching a towel around her* Hi Tony.
Jack: have you got the rent.
Rochelle: Why don't you come in and find out.
Jack: I have a lot of people to see.
Rochelle: why don't you come back *winks and drops towel* oops my towel seems to have slipped
Jack: I'll just go.

Jack: Hi
George: WHAT?
Jack: have you got the rent.
George: NO
Jack: you owe me the rent.
George: I DON'T OWE YOU SHIT!
Jack: oh I need the rent.
George: OH FUCK OFF I AINT GIVING YOU FUCK ALL.
Jack: I'll come back.
George: NO DON'T COME BACK, COME BACK AND I CALL THE FUCKING COPS.


Jack: Hello
Brittany: Hey Tony
Jack: Have you got the rent?
Brittany: Oh yeah, hold on a second *grabs the rent money and hands it over*
Jack: Thank you have a good day.
Brittany: Thank you, you too.

Jack: Hello
Danny: Hi Tony
Jack: got the rent?
Danny: Well there's a problem with the rent.
Jack: *changes demeanour* What?
Danny: I don't have it
Jack: Right that's it, you still owe me last months rent.
Danny: I'm sorry Tony
Jack: NO, I'll be back tomorrow, unless you have the rent by then. YOU'RE OUT!!

Individual post - Brittany Measor

Today myself and Danny had another idea for a scene that would trigger horatioa transformation. We decided having the idea of jack stood centre stage playing the landlord and everyone else surrounding him as if in flats. We all face forwards and there will be no props and dim lighting. The landlord hasn't been paid rent and he is demanding it back. With each knock from jack; a dofferent character answers. Females all get away with excuses as to why they haven't paid, although horatio doesn't get away with it. After horatio discovers how much easier life will be if he was a female and this is one of the main and important triggers of wanting to transform. 

This is the video of an old origional trial scene. posted by Lauren

https://www.youtube.com/watch?v=jxwbAsrXl0M&feature=youtu.be

This our dramagroup rhyme/ chant for ending scene- posted by lauren

HIRATIO OFF TO THE GENTS YOU MUST GO...ITS NOT THE SAME AS IT WAS BEFORE, YOU HAD IT ALL BUT YOU WANTED MORE. X2

Narrative for Morning Routine All three - Danny

Narrator:

It's 7:00 and Horacio and Sophie are both waking up for work.

It's 7:03 and they are eating breakfast.

It's 7:12 and they are watching TV.

It's 7:34 and they are brushing their teeth.

It's 7:38 and they are getting dressed.

It's 7:44 and they are driving to work

It's 7:59 and they have arrived at work.

It's 8:00, work has commenced

Individual Post - Brittany Measor;

For myself and Danny's ideas for new scene split staging is apparent. We decided to use split staging as we feel as though it will help the audience understand the similarity in characters but also highlight the differences and the changes occurring over time. For this, I felt as though some research on split staging will ensure that we have a good understanding of why we are including it and see if any influences appear and help produce ideas.

 

Here is an example of split staging; here they have used lighting to communicate the different places within the one stage. I feel as though this will be helpful for our split stages as it will show the audience the different places at one given time. Lighting is essential in split staging to show the difference between places and atmospheres.





Individual post - Brittany Measor;

Today myself and Danny continued to work on creating scenes that will help with establishing our characters clearly to the audience. We came up with the idea of having the same scene repeated three times throughout the duration of our play, each changing depending on the occurrences so far. The main idea of the scene will be Sophie and Horatio's morning routines. The first time we show this scene Horatio ad Sophie will be themselves, they will be completing their everyday morning tasks matching the character well .For instance, for Sophie all tasks will be done clearly to show she is a girly girl and very dependant on image. Whereas, Horatio will complete all his tasks lazily due to not being bothered about his image and bored of his life. We then will develop the scene for the next appearance showing the transformation beginning. Sophie will begin to complete tasks including the influence of Horatio and vice versa. And then finally the scene will show the full transformation and how it is unable to return to the previous character. Below you can see the listing of the occurrences within the scene so we are able to refer back to this list to ensure all steps are included in each scene although changed each time.

1. Wake up, yawn and stretch.
2. Go to the mirror, rinse face with water.
3. Move to the table and make and begin breakfast.
4. Push breakfast away and turn to watch the TV.
5. Realise the time and rush to begin getting ready.
6. Reaches the mirror and brushes teeth.
7. Horatio shaves and Sophie does make up.
8. Go to closet/draws and begin to get dressed.
9. Rush out to the car and begin journey to work.
10. Horatio shouts at another driver then puts the radio on.
11. Sophie begins singing to radio until reaches destination.
12. Horatio and Sophie bump into one another then rush off into different directions.

Depending on the transformation will depend on who does which activity. For instance, within the first scene Sophie will do her make up and Horatio will shave. Although, within the second time Sophie picks up a razor and brings to her face then stops and Horatio does the same with some lipstick. Within the final showing of the scene Horatio and Sophie just continue with these happenings. Horatio puts on his make up and Sophie shaves, this shows the full transformation completed. We will be using split staging to show the routines happening at the same times and the same routines being done in different ways. Overall, I feel as though the work of myself and Danny creating these scene has allowed me to build on my characterisation more and ensure that the character I am planning on bringing across to the audience is established clearly and successfully. It also ensures that we show the transformation between the characters clearly and that the audience is up to date and is fully aware of the happenings of our narrative.

New ideas - Danny

In Yesterdays lesson both me and Brittany came up with a couple of ideas that would not need everybody in them:

1. Our first idea was of Horacio (However you spell it) walking down a street (Stage left to right) when he is stopped by a man that notices him, namely, his landlord saying that he has not paid his bills and will take him to court. Horacio becomes entrapped when he tries to flee.

2. The second idea was that later on, Brittany gets a call saying she still hasn't paid rent and will be going to court, confused and scared, she argues with the mystery caller, who turns out to be the landlord, only because they have swapped identities the Landlord is now calling Brittany.

These were the ideas we had and we have already started devising Idea #2

Individual post - Brittany Measor;

Below you can find the link to rough idea of scripting for a scene myself and Danny were discussing in today's lesson. This is just a rough idea of what to include and would develop once discussing in full detail with the group and once we have improvised the scene also.

Phonecall scene

Individual Post - Brittany Measor;

In today's lesson we decided to split off into two sections within our group; myself and Danny were together because we felt as though we needed to work on the characterisation of our set characters. Due to the fact we both stick to the same character throughout, this characterisation needs to be strong and ensure that our intentions are portrayed to the audience effectively. To do so we decided to brainstorm ideas of scenes, that will introduce our characters and the reasoning for our choices throughout our piece, clearly to the audience. From this we came up with two ideas; one being a scene to show the main reason as to why Horatio wanted to lose his identity and another showing this reason slowly impacting Sophie's life throughout the first few stages of transformation.

The first idea that we brainstormed together consisted of the following notes in the following order;
- Horatio is walking down the street and brushes past a male, who calls his name and stands in his way so he is unable to move.
- The male is in fact his landlord and this is introduced through dialogue.
- His landlord stops Horatio due to not paying his rent for the second month in the row.
- Horatio ignores the landlord and tries to escape the situation.
- Although, he gets enclosed in by several people - effectively showing how much he wants to escape not just only that moment but his life as a whole.
- Physical theatre is key and essential throughout his scene.

The second idea that we brainstormed together consisted of the following notes in the following order;
- Split staging to be used; one half of the stage is Horatio sat on a plain black block, second half of stage is Sophie sat on a block, covered in a blanket, with a side table with tea and the telephone. Each side of the stage will be lit up when dialogue is spoken.
- Sophies phone rings and she calls to answer and eventually discovers its what she thinks is her landlord but is Horatio's. This begins to show a stage of the transformation.
- Physical theatre will be used to show the phone line by the other characters within the scene.
- We will phsyically show the small elements of the transformation through movement. Horatio and Sophie do the same thing at the same time occasionally to clearly identify the change to the audience.

I feel as though the two scenes that we came up with will help the audience establish the reasoning for the characters choices throughout the narrative. I believe it makes it clearer to the audience the reasons as to why Horatio wants to get rid of his identity in the first place and also the minor, although, important stages of the transformation and how Sophie is oblivious to the happenings around her, which also ensures sympathy is created for her character.

By Brittany Measor.

Possible Idea- Jack

I was thinking on my walk home from College that a film we could use is the Liam Neeson Film Unknown (2011).
The plot of the film is that Dr Martin Harris, played by Liam Neeson, is attending a peace summit in Berlin with his wife. He forgets his bag at the airport so must return to get it. He enters a taxi and on the way to the airport he is caught in a car crash and the taxi swerves into the river, he is brought out by the driver and slips into a coma. He awakens from the coma, not fully knowing who he is until he sees his watch. He soon discovers someone has taken on his identity and that no one, not even his wife (played by January Jones) believes him or recognizes him. With the help from a nurse, the cab driver, a retired Stasi agent, and an academic friend, he tries to unravel what's going on and sets out to prove who he is.

This is the sort of thing we are doing as it has one person losing who they were and knowing it to be true when someone else has taken their life and how they are no longer recognised eve by a loved one. We could also use a scene where the man who has taken over as Dr Martin Harris and the original Dr Harris both talk to a man and try to show them who he is as they have spoken over emails. The both start stating facts about the life of Dr Martin Harris such as taking biology as a career due to his father and talk of the information they were told by this man about his children. 

Curious Incident of the Dog at night time review and plot-Jack

On the 6^th of November 2014 we saw The Curious Incident of the Dog in the Night-Time. This was in the Gielgud Theatre in Shaftsbury Avenue. The Play is made from a book by… The Plot is that Christopher was a 15 year old boy on the autism spectrum who finds his neighbour, Mrs Shears’ dog dead, impaled with a pitchfork. The rest of the play is him trying to find out who killed the dog. Very early on in the play we are told that Christopher’s mother, Judy, was ill in hospital and she soon dies. The narrative is spoken by Christopher’s teacher reading from the book he has written about the dog. Later in the story it is discovered that Christopher’s mum may have had an affair with Mr Shears. When Christopher questions his dad, Ed, he tells him to ignore it and not to talk of it again and proceeds to take the book Christopher was writing. When searching for the book in his dad’s room he finds lots of letters addressed to him in his mother’s handwriting, the date on the stamps is after she died. He reads some of the letters and finds that his mother had not died but had an affair with Mr Shears and ran away with him.  He is so shocked by his father lying about his mother's death that he is unable to move, curls up on the bed, vomits and groans for several hours until his father returns home. Ed realizes that Christopher has read the letters and cleans him up. He then confesses that he had indeed lied about Judy's death and also that it was he who killed Wellington, stating that it was a mistake resulting from his anger after a heated argument with Mrs Shears. Christopher, having lost all trust in his father and fearing that Ed might try to kill him since he had already killed the dog, runs away. Guided by his mother's address from the letters, he embarks on an adventurous trip to London, where his mother lives with Mr Shears Christopher decides to go to London to find her but doesn’t know how to gt there. Eventually he gets to the train station in the town and gets a train to London Waterloo and has to take the tube to find the house. He eventually finds the house and is looked after by his mum until his dad arrives an wants to take him but is not allowed as Christopher wants to stay with his mum but Mr Shears cannot deal with it and Christopher is desperate to take his A-level maths so she takes Christopher back to Swindon, where he spends time with both his mum and dad and eventually he takes his A-level Maths and passes with and A* grade.

I loved this play. One of the things I liked most was the use of the stage was fantastic. The stage was like a giant whiteboard as when the stage floor was drawn on it was projected onto the back of the stage. This was used to great effect with the detective style mind-map for the possible culprits of the murder. The stage also moved in on Christopher which was a brilliant use to show how the world felt to him at that time, pushing him towards harm. The Back of the stage became and escalator at one point in the play which was brilliant as it was flat to start with but the squares at the back opened out to form steps. The rest of the stage was littered with the squares that opened like cupboards and so could hold many things. A devise that I liked was the use of the train track to show how far the journey had come, during a few scenes there would be someone else talking while Christopher was putting together the track. It was a very emotional play at times such as the moving way the mum spoke about how hard she tried with Christopher and how much she loves him. There was also a good way to convey that Christopher was a loving as a child as he hates people touching him but the use of a hand held out for a slow high five was only done with the parents to show the connection between the three of them.

The use of physical theatre was incredible, from the use of the other actors as the house and the mat to the other actors holding Christopher up to walk on walls and to spin him around. The physicality was fantastic, at one point Christopher was spun vertically 360 degrees by the other actors in such a swift movement that made it very effective. The use of people as the house was useful as it gave me many ideas for our own piece. The Physical theatre part helped me and others to generate more ideas such as the last scene will now have us being mainly physical such as becoming a Labyrinth corridor and dragging Brittany upstage and then closing in on her.

Todays Lesson and additional research; Rochelle

17/11/14  drama lesson

 

In todays lesson we created a new scene

 

Four characters

 

Barry – MIC worker lazy, alcoholic, 32 years of age

Annalese – Boss woman, non materialistic, mother, late 20’s/early 30’s

Sam –funny guy, mid-late 30’s, hard worker

Louise – early 20’s, bubbly, enthusiastic worker.

 

We started with the trial scene from previous work and found that the trial scene didn’t seem to work as well as it did last time so decided to improvise and new scene. Using political elements. The theme of mistaken identity in this universe has become a norm, something that officials in public service find dismissable. The scene is set in the “M.I.C” Missing Identity Corporation; a place where unsolved cases of mistaken identities are sorted out into solved, unsolved and dismissed cases. The political aspects of the scene relate to the initial material the trial with “law, order and control.” Showing how something that should be a big issue such as loosing your identity has become a regular occurrence so much so that it’s accepted by public service members and treated as a miniscule issue.

 

A touch of Frost - http://www.youtube.com/watch?v=1QDann6jiO0

Cold Case - http://www.youtube.com/watch?v=yKS7HorFjeE

 

I was googling Cold Case a television series that I watch which has the same concept of public service as what were aiming for, so I figure we can watch an episode at home and use terminology at home for scripting. While I was researching an episode I came across this ‘a touch of frost’ the episode is about an unconventional policeman with sympathy for the underdog and an instinct for moral justice. Maybe we can use some of this to try and improve the trial scene?

Individual post by rochelle the good person of sheczwan

Another Play we can use is The good person of Sheczwan -

One of the main things that attracted me to this play alongside the amazing physical theatre, and theatrical (pantominish) styles was the moral message of the play. At the very end of the play the Three Kings did a Song quite similar to ours at the end to basically spell out to the audience in a Brechtian style a moral message and that the play was just a play. Our play has the moral message of 'appreciation' knowing what you've got before you loose it.

Many people speak of alienating the audience (making them separate from the action)  However, it’s still often called the alienation effect or is shortened to the ‘v’ effect and there are many ways of using it.

 

Brecht definitely wanted his audience to remain interested and engaged by the drama otherwise his message would be lost. It was emotional investment in the characters he aimed to avoid.

His approach to theatre suits work which has a political, social or moral message. Perhaps you want the audience to consider the meaning in a parable (a story with a wider moral message). You might want to explore a theme or issue and make your audience consider varying viewpoints or sides to an argument. If so you can learn a lot from the distancing devices used in Brechtian theatre.

 

Epic theatre (Brechtian theatre) breaks the fourth wall, the imaginary wall between the actors and audience which keeps them as observers. They are active members of the theatrical experience as they are kept thinking throughout, not switching off.

Individual post by Rochelle comedy of errors

While researching plays on mistaken identity to help with our piece in drama, I remember a play we went to see and studied last year which was Shakespeares 'Comedy Of Errors' this play is about twins whos get their identities mixed up.

http://www.oocities.org/athens/delphi/5804/comedy.htm




"In Shakespeare's first comedy, The Comedy of Errors, mistaken identity is the sole impetus behind the action, as it had been with its original sources. The germinal idea of asking how one really knows who one is introduced, but the conflicts that occur between appearance and reality are not totally realized. This was accomplished by Shakespeare's maturing comic style as he begins to recognize all the varying aspects presented by the ploy of mistaken identity."

Our piece is not about identical characters, we have chosen to go with two contrasting characters; one who is deeply unhappy with his life and the other who is deluded by her appearance and because of that learns a massive moral message of 'Appreciation' when their identities are switched. From comedy of Errors we have taken a lot of comedic features as well as a constant confusion and scattered scenes.

This is presented in our Waiting Room Scene when all havoc breaks loose when Sophie smith has an appointment and Danny and Brittany face up to one another debating who is who. we then used mirroring to show the transformation becoming more apparent to the audience and from Sophie Smith to Horatio Frasier.

New cases- Posted by Lauren

Previously I have researched cases when we were rehearsing the court scene... I thought I might research cases on stolen identity. (IDENTITY THEFT).

Some extreme/ Crazy cases I have found: A woman named Christina Lee Cameron was sentenced to thirteen years in prison after being found guilty of identity theft, as well as burglary. Cameron had stolen a large number of identifications and checks then used them to pay for items at stores all over the community. She even bragged to law enforcement agents over the phone that she could not be caught.

A Texas Example
Another example of a court case happened in 2007. In Fort Worth, Texas, a 50 year old man named Billy Coats received up to 25 years in prison for identity theft. He had stolen identities from more than 50 different people using various methods, including a device to unlock car doors and trunks so he could steal purses left inside. The stiff penalty was the result of a law that had passed in Texas just three months before his arrest. His previous felony conviction made him eligible for a sentence ten years longer than normal for the crime. Coats is believed to have been part of an identity theft ring in which he created fake checks and others cashed them.

research- Posted by Lauren

I was researching plays when I stumbled across William Shakespeare's twelfth night. This play could be particularly relevant as it deals with transvestites and identity changing. "Twelfth Night is one of Shakespeare’s so-called transvestite comedies, a category that also includes As You Like It and The Merchant of Venice. These plays feature female protagonists who, for one reason or another, have to disguise themselves as young men. It is important to remember that in Shakespeare’s day, all of the parts were played by men, so Viola would actually have been a male pretending to be a female pretending to be a male. Contemporary critics have found a great deal of interest in the homoerotic implications of these plays."-  taken from http://www.sparknotes.com/shakespeare/twelfthnight/context.html

other research: Beyond the basic need for a sense of control, we are deeply driven by our sense of identity, of who we are. We are in the middle of our individual world, where we place central importance on our sense of individual self. As Descartes said, ‘I think, therefore I am.’ Many social theories are to do with creating or preserving our sense of identity.

Identity and needs

Psychologist Abraham Maslow defined a hierarchy of needs, with the particular revelation that when lower level needs are not met, then higher-level needs will be abandoned in favor  of shoring up the deeper needs.
Take a look at the needs:

 

What can be clearly seen here is that the upper three levels are about the person and their sense of self. This is in contrast to the bottom two levels, which are about control.

 

 

 

Books: Who Do You Think You Are?: Finding Your True Identity in Christ  by Mark Driscoll.         

WHO ARE YOU?

WHAT DEFINES YOU?

WHAT IS YOUR IDENTITY?

How you answer those questions affects every aspect of your life: personal, public, and spiritual. So it’s vital to get the answer right.

Pastor and best-selling author Mark Driscoll believes false identity is at the heart of many struggles—and that you can overcome them by having your true identity in Christ

             This book has a strong sense of relevance as it refers to finding yourself within Christ. In Our play in the sad Montage scene Sophie (aka: Hiratio) goes to a church to seek help from god to help find herself however it doesn't seem to work.

films with relevance. -posted by Lauren

I have researched different movies that have relevance to identity in some way. I thought we could take ideas maybe and use them in our own work. This could help us with our S.W.E.D notes as an example of stimuluses' we used for a variety of ideas.

Films:

Enough: A Cinderella story turns into a nightmare when a former waitress' perfect marriage gives way to adultery and physical abuse in this combination of domestic drama and revenge thriller. Motherless young woman Slim (Jennifer Lopez) works in a San Francisco diner with her best friend, Ginny (Juliette Lewis). After almost succumbing to the slick flirtation of an insincere customer (Noah Wyle), she is rescued by another dashing diner named Mitch (Bill Campbell). A few years later, the now happily married couple seem to have it all -- a perfect house, a precocious daughter (Tessa Allen), and a comfortable life. Then, Slim discovers that Mitch is actually a lothario who has been sleeping with other women behind her back. When she protests, he slaps her around and uses daughter Gracie as leverage to keep her in line. Slim enlists the help of her friends to escape with her child, though Mitch attacks and very nearly kills her in the process. Going on the lam, Slim adopts a series of new identities, wigs, and residences to avoid the goons Mitch has sent to retrieve her. Along the way, she receives help from Joe (Dan Futterman), a friend and old flame from college. Ultimately, Mitch and his unexpected allies so terrify Slim that she must turn the tables and transform herself from hunted to hunter. In doing so, she receives some surprise assistance of her own -- from Jupiter (Fred Ward), the rich father who abandoned her mother years ago. Although the soundtrack to Enough features the music of star J. Lo, the title song was written especially for the film by Magnolia tunesmith Aimee Mann. ~ Brian J. Dillard, Rovi

Catch me if you can: New Rochelle, the 1960s. High schooler Frank Abagnale Jr. idolizes his father, who's in trouble with the IRS. When his parents separate, Frank runs away to Manhattan with $25 in his checking account, vowing to regain dad's losses and get his parents back together. Just a few years later, the FBI tracks him down in France; he's extradited, tried, and jailed for passing more than $4,000,000 in bad checks. Along the way, he's posed as a Pan Am pilot, a pediatrician, and an attorney. And, from nearly the beginning of this life of crime, he's been pursued by a dour FBI agent, Carl Hanratty. What starts as cat and mouse becomes something akin to father and son.

Sleeping with the enemy:Wealthy Laura and Martin Burney have a passionate marriage. Martin's passion manifests itself in a need for complete control and order, which in turn results in violence against Laura when that control and order is lost. This violence is generally followed by an act of controlled forgiveness. She is scared of his violent tendencies, which are hidden underneath a public veneer of perfection. A non-swimming Laura supposedly drowns during a sailing accident. The accident however was really a premeditated escape plan by a swimming-able and still alive Laura, who knew that Martin would never allow her to leave him as long as she was alive. Rechristening herself Sarah Waters, Laura travels from their Cape Cod home to Cedar Falls, Iowa to be closer to her blind, wheelchair-bound and nursing home residing mother, who Martin believes is dead. Although apprehensive at first, Laura begins a relationship there with Ben Woodward, the local college's drama professor who is attracted to her despite the many secrets he knows she is keeping from him. Meanwhile, Martin stumbles onto evidence that Laura may still be alive, and stops at nothing to discover the truth so that he can carry out his promise of never letting her go while she's still alive. That promise extends to anyone who may be helping her, such as Ben.

Identity change? - individual post by Lauren

Identity theft

Identity theft happens when fraudsters access enough information about someone’s identity (such as their name, date of birth, current or previous addresses) to commit identity fraud. Identity theft can take place whether the fraud victim is alive or deceased.
If you’re a victim of identity theft, it can lead to fraud that can have a direct impact on your personal finances and could also make it difficult for you to obtain loans, credit cards or a mortgage until the matter is resolved.

Identity fraud

Identity fraud can be described as the use of that stolen identity in criminal activity to obtain goods or services by deception.
Fraudsters can use your identity details to:

• Open bank accounts.
• Obtain credit cards, loans and state benefits.
• Order goods in your name.
• Take over your existing accounts.
• Take out mobile phone contracts.
• Obtain genuine documents such as passports and driving licences in your name.
• Stealing an individual’s identity details does not, on its own, constitute identity fraud. But using that identity for any of the above activities does. 

Here I have researched identity theft and fraud. We could use some of these ideas to develop further for out court room scene to make it relevant to our piece.

Identity Thief - individual post by Lauren

As our theme is based on the idea of waiting and identity, I have found and watched a film called Identity Thief. I thought it was relevant as the plot of the film; "Sandy Patterson learns that someone stole his identity and ran up a huge credit card debt. Sandy's job is in jeopardy because of it. The police are unable to do anything. So Sandy decides to find the person who stole his identity so that the whole thing could be straightened out. He finds the person, a woman who tries to run for it but Sandy stops her. He tries to bring her back but there are some people who want her too for other reasons. So Sandy is dodging bullets and being attacked".

Hiratio and Sophie; the two main characters in our play , have swapped identities all thanks to Hiratio. As Sophie starts to evolve she doesn't realise that society see's her as man. It's not the same as the film identity thief but however I thought it had some relevance. In the film Sandy finds the woman who stole his identity and confronts her just as Sophie and Hiratio have some sort of confrontation about who each other is. Hiratio purposely swaps identities with Sophie and so the whole time he has known what's happened whereas Sophie does not. This could be really frustrating as well as exciting for the audience because they know what's happened whereas the actors do not.

In the Movie whilst Sandy (identity was stolen) life is on strain due to the fact someone has stolen his identity, the woman that stole It has a whale of a time.
Horatio enjoys his life so much after he swapped identities whereas Sophie becomes mentally confused and depressed. Her life is deteriorating.

Individual post by Rochelle; the song

The song we created for our final scene -

H-O-R-ATIO OF TO THE GENTS YOU MUST GO
ITS NOT THE SAME AS IT WAS BEFORE
YOU HAD IT ALL BUT YOU WANTED MORE.

X2 REPEATED.

SCRIPT FOR BOSS CHARACTER -

small list of relevant mental problems that I have researched for scripting. The boss is confused on Sophies problem so comes up with a list of irrelevant topics that might help - these will be repeated in the Montage Scene.

Gender Dysphoria
Depression
Mistaken Identity
Transgenderism

Inidvidual post by Rochelle; Group Objectives

GROUP OBJECTIVES -

i've created a list of things I think we should all get done by Friday next week -

1. create 2 or 3 more scenes using a blur of theatrical styles and different elements of sound, light and space.
2. organise the structure of the scenes and give them all individual names
3. Give each scene an intention for what the audience should feel while watching the scene
4. have a full script typed up and printed off for each person for our piece
5. (Hopefully) have a full prop list and music soundtrack decided
6. we should have a conversation at the end of next week with what we think the costume should be for the piece, maybe all black but with significant pieces to represent each character e.g Montage scene George should wear a stethoscope, Jack a big cross, Lauren a pink bow to signify a girly best friend and myself a tie to show authority.

Group made List  - List of the scenes so far and who was allocated to write up each scene

Individual post by Rochelle;

Individual post by Rochelle - Research and individual homework

https://www.youtube.com/watch?v=pARzRErm9rc

Some research we can use of Complicte's theatre piece using Contact that we can use as material for our final scene to help with creating.

Also as we need to organise the order of scenes and create a few more scenes to complete the time limit and ensure the audience understand the trail of 'Sophies' journey. so I found some flashcard things online that are conventions we can use and we are leading towards some stylistic and physical theatre scenes to ensure we have a blur of theatrical styles instead of just naturalism.

http://quizlet.com/788636/cfe-dramatic-conventions-flash-cards/

This website is my favourite as it has a lot of really interesting conventions and a few that stood out to me and inspired me to come up with a little idea we can add into the waiting room scene or even another scene yet to be created was 'Narration' and 'heightened use of language' 'exaggerated movement'. I don't know why but I got the idea of something quite pantomime-ish. By this I mean using the traditional line of 'NO YOUR NOT' but in a dramatic irony sort of way so maybe her character isn't aware or isn't a part of the enthusiastic over exaggerated movement by the ensemble/surrounding characters.

ALSO MAYBE WE CAN USE SOMETHING WITH MIME?

http://www.thedramateacher.com/non-naturalistic-theatrical-conventions/

Also we gave each other a group homework of coming up with the individual lines were going to say in the final scene mine are

"We call her Kevin"
"No, I'm Sophie"
"Sophieeee"
"Press 4 if you've lost the will to live"
"Press 37 if you've misplaced your left shoe"
"Identification not recognised"
"Quick mirror check girls, we wanna make sure we look fittt"
I was thinking all the girls (except britt obvs) can unanimously say "happy birthday sophie" from scene 3 and "Horatio Fraiser *girls giggle*" from scene 4 to convey when she was her previous character.

I have chosen these lines as I believe they are all significant to portray "the change" and bring up sad memories to confuse and frustrate her character and also to enforce the feeling of sympathy in the audience.

Individual post by Rochelle

Individual blog post - Rochelle Harris

In Tuesdays lesson we focused on the final scene for our piece and came up with a scene using a complicite and stylistic theatrical styles.

We used contact using our hands continuously to show how the character of Sophie morphing into "Horatio Fraiser" body and mind was boxed and trapped. showing this through creating a pathway using our full bodies as gateways and moving as an ensemble to block Brittany's character from reaching her goal. we used Objectives and Intentions to portray this - Brittany's objective was to find a way out of the maze and our intention was to ensure she didn't find a way out. Relating this to previous initial material 'the trial'; we used the quotations "there is no door and no entrance" and repeated it every time we blocked her character.

Intention to audience was for them to feel empathy for Brittany's Character - to show this we used a canon. Taking lines from the rest of our scenes that show her change and discomfort throughout and speeding up the pace as they get more personal. for example in the waiting room scene my character says "the corridor you want is that way" "Ohh we call her Kevin" these quotes convey my character of the receptionist stating Horatio's change being apparent to the other characters in the scene. these quotations give discomfort to 'Horatio'. Alongside these words we added patronising tones and repetition of "Sophie" "Horatio" "Who am I" "the world is growing darker" etc. All lines from scenes that cause stress to Britt's character.
                                                                                  
A drawing I created to try and explain the physical ensemble movements we have in one part of the final scene                                                                                                                                  

Individual post by Rochelle - SCRIPT

Script for Scenes 3 - Predrinks and Scene 4 - Nightclub Scene by Rochelle

 

waiting room scene script

Waiting room scene script- by George Overett

 

 

*Lights come up*

 

*Rochelle is sat at her desk on an otherwise empty stage do a rhythmic drumming, miming doing paperwork.*

*Danny enters.*

 

Danny: "hey there"

Rochelle: "hello welcome to Sunningdale hospital, how can i help you today?"

Danny: "I’ve got an appointment"

Rochelle: "name?"

Danny: "Sophie smith"

Rochelle: "Sophie smith, oh I love your nails! They’re great"

Danny: "oh thanks I like yours too"

*girlish giggling, acting all embarrassed*

Rochelle: "oh yeah Sophie smith, number 607, have a nice day"

*Danny takes a seat and the rhythmic drumming continues*

*jack enters*

Rochelle: "hello welcome to Sunningdale hospital how can I help you today?"

Jack: "I need someone to look at my arm"

Rochelle: "what did you do to your arm?"

Jack: “broke it”

Rochelle: “how’d you do that?”

Jack: "fell in the bath"

Rochelle: "name"

Jack: "Sean Connor"

Rochelle: "Sean Connery?"

Jack: "Connor!"

Rochelle: "Connor"

*looks at the records*

Rochelle: "number 34, have a nice day"

*jack takes a seat and the rhythmic drumming continues again*

 

*George enters*

Rochelle: "hello welcome to Sunningdale hospital how can i help you today?"

George: "my phone is stuck to my face"

Rochelle: "name?"

George: "April century"

Rochelle: "Aprel"

George: "April"

Rochelle: "oh yes number 27 have a nice day"

*George takes a seat and Rochelle continues the drumming*

*everyone makes a repeated noise to show the audience the sense of time passing*

*Brittany enters*

Rochelle: "hello welcome to Sunningdale hospital how can i help you today?"

Brittany: "I have an appointment"

Rochelle: "name?"

Brittany: "Sophie smith"

Rochelle: "Sophie smith? We’ve already had a Sophie smith today"

Brittany: "well the doctor said I’m the only appointment he has all day could you check?"

*checks the records*

Rochelle: "we have a Horatio freezer"

Brittany: "yeah fine that’ll do"

Rochelle: "right, number 6, have a nice day"

*Brittany takes a seat and the repetition of the noises continues"

*Lauren enters*

Rochelle: "hello welcome to Sunningdale hospital how can i help you today?"

Lauren: "heyya love I’m here for my eight month check up"

Rochelle: "who knocked you up?"

Lauren: "me fiancé"

Rochelle: "I don’t have one of them"

*pause*

Rochelle: "name?"

Lauren: "Melany strikes"

Rochelle: "Melany strikes"

*checks records*

Rochelle: "oh yes, number 23, have a nice day"

 *Lauren crosses the stage but there are no seats available*

 

Brittany: "would you like to sit down?"

Lauren: "no it’s okay"

Brittany: "would you like a drink?"

Lauren: "no don’t worry I’m fine"

*pause*

Brittany: "I’m going to get a drink ill get you some water, sit down"

Lauren: "okay thank you"

*Lauren sits while Brittany goes to get water*

Lauren: "thank you"

*Lauren takes the water*

*George continues to attempt to pull the phone from her cheek*

Jack: "how far gone are you?"

Lauren: "8 months"

Jack: “do you know what you’re having yet, boy or girl?”

Lauren: “no that’s what I’m here to find out today”

*pause*

Lauren: “are you alright love?”

George: “it’s stuck to my face”

Lauren: “how’d you do that?”

George: “too much tequila”

*Lauren gives a confused look then turns away*

George: “I just want to play temple run”  

Brittany: “does anyone know where the ladies are?

Everyone: "ladies?!"

George: "the gents are that way"

Jack: "but the stall is broken"

Brittany: "oh well I’ll just have to hold it then wont I?"

*crosses legs*

Jack: "oh, doesn’t that hurt"
Brittany: "sorry what?"

Jack: "you know doesn’t that crush your..."

Brittany: "Sorry"

Jack: "how'd"

Brittany: "I’m a girl"

Everyone: "OH!"

Rochelle: "oh yeah my sister had something like that, we call her Kevin, the loos ae down the corridor, you know no judging”

*everyone laughs until Brittany looks at them, everyone stops and ‘acts natural’*

 

*Rochelle continues the drumming*

 

Rochelle: "Sophie Smith, to room 4, Sophie Smith"

 

*Brittany and Danny stand and come face to face*

 

Brittany: "what are you doing?"

Danny: "going to my appointment"

Brittany: "no it’s my appointment"

Danny: "I’m Sophie Smith"
Brittany: "no I’m Sophie Smith"

Danny: "you’re a guy"

Brittany: "no I’m not I’m a girl I’m Sophie Smith"

*phone rings*

George: hello? No I’m at the doctors… it’s stuck to my face… well ha ha to you too”

 

*Lauren stands*

 

Lauren: "well if none of you are going to take the appointment I’m bloody Sophie Smith"

Jack: "yeah me too, need to get this arm looked at"

 

*Lauren and jack exit stage*

 

Brittany: "well... I’m Sophie Smith"

 

*Brittany runs after them*

 

Danny: "no I am!"

 

*Danny runs after all of them*

 

Rochelle: "Sophie Smith to room 4"

 

*George finally pulls the phone from her face*

 

George: "I’m free!" *runs from stage*

*everyone re-enters stage*

Brittany: "see I told you I was Sophie Smith"

Danny: "I was waiting for this"

Lauren: "you were waiting I’ve been waiting eight bloody months for this"

Jack: "I still need this arm looked at"

*Lauren and jack leave stage*

*Rochelle stands*

Rochelle: "just to let everyone know, I do not get paid enough for this shit"

 

*Rochelle leaves stage, leaving Danny and Brittany there alone*

 

 

Brittany Measor individual blog post;

Within todays lesson we created our final scene and what ending we feel as though will be good to place into our piece. We have decided to include a twist at the end to engage the audience and ensure that the piece is interesting from start to finish. This twist consist of having the main character played by myself believe that she is back to being Sophie Smith after waking up from a terrifying dream which includes her being lost in a maze and trapped from the world. Within the dream chants are said and key lines from the rest of our piece is being said by all characters except myself. She then wakes up from the nightmare and believes she has regained her identity and everything was just a scary dream. To ensure the audience understands this Danny who plays the real Horatio whispers 'it's time to wake up now' into my ear. She immediately calls her parents after waking to present the good news and explains how she is herself again. The lights then go out to a blackout and you hear her parents say 'He's calling again'. Revealing to the audience that she hasn't changed back and it was all an idea in her head that wasn't true. To create this we took in mind the physical theatre used within The Curious Incident of the Dog in the Night time which we saw last week. I feel as though this non-naturalistic scene worked well to establish the happenings within the main characters mind and how it is effecting her and also ensures that the audience understands the characters feelings.

 

Brittany Measor.

Opening Nursery Rhyme - Sophie's - By Brittany Measor

Below you can find the link to the script to the opening scene; only consists of Sophie's opening Nursery rhyme lines. The opening scene will consist of dark lighting and an insight into the play before it begins. 

Script for opening scene - Sophie's Nursery Rhyme.

By Brittany Measor.

Script and stage directions for scene 5-Office Day

Office Scene-Scripted by Jack Mower

4 desks with 4 chairs on the stage, a fifth chair on its own downstage right. A single block in the centre of the stage.

(Rochelle walks across the stage towards Jack on the fifth chair)#

Jack: (robotically) Identification

Rochelle: Rochelle Harris number 635

Jack: Processing, Follow the Pattern

(Rochelle mirrors Jack’s hand gesture and ends in a high ten)

Jack: Approved. Have a nice day

(Lauren walks across the stage towards Jack on the fifth chair)

Jack: (robotically) Identification

Lauren: Lauren Caswell number 501

Jack: Processing, Follow the Pattern

(Lauren mirrors Jack’s hand gesture and ends in a high ten)

Jack: Approved. Have a nice day

(George walks across the stage towards Jack on the fifth chair)

Jack: (robotically) Identification

George: Georgina Overett number 666

Jack: Processing, Follow the Pattern

(George mirrors Jack’s hand gesture and ends in a high ten)

Jack: Approved. Have a nice day

(Danny walks across the stage towards Jack on the fifth chair)

Jack: (robotically) Identification

Danny: Horatio Freezer number 197

Jack: Processing, Follow the Pattern

(Danny mirrors Jack’s hand gesture and ends in a high ten)

Jack: Approved. Have a nice day

(Rochelle, Lauren, George and Danny talk and move physically around the stage. They spin around each other and converse with one another)

Jack: Work commences in 5, 4, 3, 2, 1. Work has begun enjoy your day.

All: Hello, Welcome to Anderson and Sons, you will be charged for this call but don’t worry, we’re here to help

Rochelle: Press 1 if you have lost your keys

George: Press 2 if you have lost your car

Lauren: Press 3 if you have lost your house

Danny: Press 4 if you have lost the will to live

All: Please Hold

(Danny gets up and leaves the office, clocks out by pressing hand on Jack’s shoulder.)

Jack: Goodbye Horatio

(Danny walks stage right as Brittany walks the other way. They see each other and move around one another in slow motion while looking confused. Brittany walks to Jack)

Jack: (robotically) Identification 

Brittany: Sophie Measor number 471

Jack: Processing, processing, processing, failed. Enter ID

(Brittany places identification in Jack’s Hand)

Jack: Identification approved welcome back Horatio Freezer

(Brittany enters and takes Danny’s seat)

Rochelle: Press 4 if you have lost your horse

George: Press 12 if you have lost faith

Lauren: Press 30 if you have lost yourself to the music

Brittany: Press 42 if you have lost your legs

All speak at once on the phone and the chaotic noise comes to a climax and they fall as if puppets are no longer being held by strings.