Screen vs stage logbook Essay Example

lighting plan. As we explored possibilities for adapting the play to film, we came up with the idea of creating our own modern day story, using the monologues from the original script to drive the narrative. One of our group members, Clement, suggested he play the leading male character who cheats on his girlfriend at a party and gets caught; we decided that we would incorporate these two plays throughout the film. We ultimately decided to shoot the film scenes on location at a modern day university in 2014, with each character wearing contemporary clothing. With our final concept and script in place, we then had to choose actors for each role. This was challenging due to the abstract nature of the script, but we successfully overcame this hurdle by randomly reading through characters before assigning them. Finally, after selecting our cast, we were ready to begin rehearsals.During week six of rehearsals, we focused on perfecting our lines and embodying our characters. Our first run through of the finished script required an open mindset towards incorporating new ideas and suggestions. We recognized the importance of having emotional concentration to register our first impressions, as without this inner state, the creative process cannot take place (Statisticians 2012: 4). We rehearsed the script multiple times until everyone was familiar with their lines, and then broke down each scene into seven units to indicate a change in objective. For example, in scene two, Hue and Lady's dialogue was interpreted as 'I interrogate you' for unit one. We marked every objective with specific actions, which will serve as guidelines for our performances. There were also certain words in the

script that we felt uncomfortable with, so we made changes to words that were more familiar to us; this was possible as our film setting is modern day.During the character development workshop in Week 7, we engaged in improvisation exercises that helped me to examine my character more closely. I pondered over how my character walks, what traits they possess and who they would get along with. I began to perceive myself as my character and imagined how they would behave in real life. As we transitioned to screen instead of stage, I had to consider the use of an inner voice and facial expressions to establish chemistry between the characters. In the rehearsal, I modified my script for better flow and acknowledged both my strengths and weaknesses. It was clear that action influenced our voice tonality and conveyed emotions well. This affirmed that I need to research more and practice sufficiently to resonate with my character.

Mel Churches notes the difference between stage acting and screen acting, stating that actors must possess a strong imagination in order to inhabit the world of their characters without relying on an audience (2011:21). During rehearsal, our class used exercises to become our characters, resulting in improved performances and character connections. However, during a tutorial with our Director, Stuart, he advised us to focus on building substance by examining our actions and developing our characters (Statisticians 2012:124). As a result, I revised my script's actions to enhance my performance, such as changing an action from questioning motives to guilting someone during a monologue in the second scene.

During our performance for Stuart, my group and I focused so much

on getting our lines right that we forgot to incorporate actions. To improve our individual character performances, we need to memorize our lines. Following Stuart's advice, we rehearsed for an hour after class, which helped me feel more connected to my character. However, I still struggle with expressing enough anger. To address this, I plan to research a character similar to mine and observe how she performs.
In preparation for our meeting with Stuart, we agreed to rehearse together an hour beforehand during our make or break week. During the rehearsal, we questioned each other's characters, such as when I asked Clement why he chose to mock my character in a particular scene. He explained that his character doesn't feel remorse and has gotten away with similar behavior before. This new information will help me react authentically to his character and convey our shared history during our performance.After watching Tartar P. Hanson's portrayal of Yvette in the movie 'Baby Boy,' I found many similarities between her character and mine, Lady. Yvette, a mistreated and unappreciated woman filled with resentment and anger, inspired me to adopt some of her characteristics and see how they would work well with my own character. When presenting our piece to Stuart, he acknowledged that there was potential for improvement and wasn't yet convinced that we were ready for filming. However, my group and I felt confident in our mastery of our characters and decided that our latest rehearsal would be our last before starting filming the following week. Throughout filming week, which spanned Monday through Thursday, we dedicated ourselves to completing the process despite a tight schedule. While working on

my scene with Clement, I struggled to build chemistry with him until we took the time to discuss past experiences that evoked strong emotions within us. Thanks to his help, I was able to tap into my character's emotions more effectively during the scene.During the filming process, we encountered an issue with a scene featuring Mammon's character, 'The Dancer', walking out of my boyfriend's bedroom. We agreed that the scene appeared unrealistic and decided to shorten it. We opted to show only the moment when Naomi and I make eye contact before I enter the room to confront my boyfriend as we felt this created better tension and kept the flow of the scene. Our Director Stuart provided excellent feedback on our logbooks and work so far during a meeting last Thursday. Following this, we assigned each other tasks to watch films and programs that could inspire our piece since we were undecided on how to edit it. By Week 11, we had selected our best shots and agreed that we wanted our film to have a similar style to the British teen drama 'Skins' due to its use of narration, scene transitions, and characters breaking the fourth wall. During post-production, my group and I gathered around the computer to select the best shots for each scene. I was pleased with my monologue on camera as it featured me speaking directly into the lens, while 'The Dancer' did the same in another shot. This technique was reminiscent of 'Skins,' and I also chose close-up shots that effectively conveyed my emotions and intimacy.On the following Thursday, all groups presented their films and gave each other feedback.

My group received positive feedback, and Stuart suggested that we should continue with this idea. Reflecting on my performance, I realized that I should have focused more on being in touch with my character instead of just learning the lines. If we were to do this project again, I would concentrate on perfecting my scene with Clement, as we lacked chemistry despite having some connection. This experience taught me that acting for film is different from stage acting, where perfection is essential. Film actors focus more on their facial expressions and tone of voice to convey the story effectively. Despite its creative and fun nature, creating a film requires attention to detail. The Appendices Script Briefer in Color Scene begins with shots of people drinking, dancing at a party in a University flat setting with close-up shots of the dancer's arms and shoes and then a medium shot of the dancer dancing while the camera pans around her.The Dancer turns to the 1st man and expresses her innocent love, hoping someone will accept it. The 1st man is intrigued by her offer and accepts. The Dancer then offers her undemanding love to the 2nd man, who declines due to guilty feelings. She then offers her untapped lover to the 3rd man, who hesitates and tells her to find someone else. Frustrated, the Dancer offers her embittered love to the 3rd man and asks if he will take it. He dismisses her and talks to another girl. Feeling dejected, the Dancer says she has nothing left to give. Hue slides in and offers to talk about her troubles at his place. In Scene Two, shots of

the garden, porch, and window are shown. The Dancer is seen on the bed, dressing while reflecting on the loss of innocence, symbolizing youth's hopes and dreams. As Hue sleeps beside her, the Other woman enters the flat and sees the Dancer leaving. The two women awkwardly lock eyes, and the Other woman hits the Dancer.As the dancer walks down the stairs, Hue is getting dressed when another woman enters. The woman notices a flower and asks if it belongs to Hue, who denies ownership and agrees to share it. Despite some people's objections to sharing, Hue explains that watching a flower alone can be lonely and that both the flower and the viewer bring beauty to each other. The woman becomes angry and accuses Hue of hurting her and taking her things without permission. She demands her belongings back, stating that it's a woman's trip and she needs them for admiration. Hue tries to calm her down by suggesting a duet with a silver ring in his nose, but the situation escalates as both the dancer and woman lament that someone almost ran off with all their stuff. The dancer pleads for the return of his rhythms and voice, asking that his belongings not be thrown away. He declares his independence but acknowledges that he must give something in return for companionship. The woman echoes the sentiment, declaring that someone almost ran off with all her stuff, highlighting the importance of their possessions to their identity.During the unsettling moment, I realized that my possessions were taken not by a specter, but by a man whose conceit resembled Radon's Shadow Dancer. He was swifter than

my naivety, and my girlfriend was almost seduced into taking all of my belongings. Unknowingly, I relinquished them without hesitation, while she disputed that they were rightfully hers. The thief boasted that he pilfered the most anonymous treasures of the year, and my girlfriend expressed how she narrowly avoided being another victim. However, despite the disillusionment I experienced from my friends, lovers, and even the gods, I learned a bitter truth- everyone lies and nothing is eternal. They are all cheats and scoundrels attempting to swindle you, so do not trust a single one! As for our theatre performance, we plan to merge Jules Briefer's "For Colored Girls" and Neonate Change's "Fifer's People" into one production. Specifically, we plan to fuse "Somebody Almost Walked Off with All My Stuff" with the scene "Dancer-Bernard-Three Men" from "Fifer's". The latter depicts a girl attempting to give her innocent love to three men who refuse it. However, the fourth man accepts and takes her away.In a small black box theatre, we witness a scene at a 2014 university party. The Dancer stands alone under her own spotlight, stage left and upstage, wearing a modern white party dress. Facing the audience, she describes feeling crestfallen and abandoned in her pursuit of love/companionship/sex. As men approach her, each one is spotlighted as they speak to her, standing on the same level but upstage right. When the Dancer chooses Hue to give her love, a blackout occurs. The scene resumes with the girl sitting on the edge of a bed downstage as she begins to deliver her monologue/chore poem, pacing back and forth. In the background, Hue is seen buttoning his

shirt before he sneaks away to follow a second female wearing white that walks by. The curtains fade to end the scene.The proposed film adaptation entitled "Neonate Change" is the combination of two plays, For Colored Girls and Fifer's People. It will incorporate the scene "Dancer - Bernard - Three Men" from Fifer's People in which a young innocent dancer hopes to find love with three men who reject her advances. However, the fourth man accepts her love and takes her away. This scene will be combined with the churchgoer's monologue "Somebody Almost Walked Off with All My Stuff" from For Colored Girls as both plays explore themes of lost innocence and the pursuit of love. The film will be set at a modern-day university dorm party in 2014 with each character wearing modern party clothes. The characters include the innocent dancer girl Dancer, the second woman Woman in White who is chased offstage by a man, and male characters Joey, Alex, Bernard, and Hue. The film scenes will use medium shots for audience closeness with the actors. and their contents will be preserved.The dancer's state of mind will be revealed through close-ups at the beginning of the scene. The camera will follow her movements, with Joey, Alex, and Bernard entering the frame at appropriate intervals. The camera will stop when Hue approaches her, creating a stronger effect upon his entrance. As Hue enters, the camera style will change to a rougher, more documentary style with close-ups from strange angles, on-location lighting, and cross-cutting during editing. The emotional transformation of the dancer will be visually shown when she meets Hue. After going off with

Hue, there will be a cut to the next morning in his flat. The Dancer will be shown getting dressed and a voice-over of her monologue will be heard instead of visualizing it. When she leaves Hue's apartment, another girl is seen in the hallway outside, who slaps her before running into Hue's apartment screaming. Both their faces will be shown in a lingering close-up to create tension, but no fight ensues.The filming plan includes capturing crosscuts of Hue's girlfriend walking away while a couple argues. On stage, a man chases off a second woman he sees. The project and rehearsal plan involves weekly practice on Wednesdays leading up to March 10th and rehearsing without costumes but with equipment. Filming is scheduled for March 14th and 15th both at home and around the respective flats with added sound recording equipment if necessary. The only specialized wear will be white dancer dresses and party decorations. The Lady character is a made-up role whose purpose is to link For Clouded Girls and Fifer's people. She's driven by anger to seek revenge and conveys her angst through actions and dialogue as she catches her boyfriend cheating with The Dancer while attending the University of Worcestershire during fresher's week in modern-day 2014.The party takes place in a university flat, and the morning after happens in an off-campus flat. The situation involves Lady's boyfriend, who is drunk and seeks sex without meaning after the party. During the scene, Lady discovers her boyfriend in bed with a dancer. Full of rage and emotion, she proceeds to slap the dancer while circling her boyfriend and reciting the monologue from "for colored girls".

This poem and her actions are her way to question why he treats her so poorly. The scene quickly changes from being romantic and risque to one filled with tension, yelling, and violence between Lady and the dancer. Eventually, the atmosphere becomes emotional and angry.