18/10/16 Costume bible

What is a costume bible?

• This is a book which includes all the information about costume design for a performance. All details about the costume design should be included.
• The book must include in-depth research into why each character is going to be wearing their specific type of costume and the practicality of making and maintaining it.
• Costume inspiration, why they are wearing each piece of costume.
• Initial designs and ideas, along with ideas and sketches of potential design ideas.
• Where you are going to source the materials from to create the costumes. Financing of the materials must also be included to ensure the company stay within their budget.
• Must include accurate measurements for each individual character, ensuring the clothing fits the characters accurately, making the costumes look professional and well maid.
• Samples of fabric you are considering using for the costumes, so you can make sure the texture is appropriate for a stage and theatre set up.
• Detailed information about specific extras for example, pockets, zips, buttons, wigs, jewellery.

What determines a costume designs?

• Practicality- ensuring what you are wearing enables you to perform your part well. For example if you are a contemporary dancer wearing a tight skirt, your movement will be restricted and therefore is not practical. Also if you have a quick costume change, the outfits you are changing between must be easy to alternate between.
• Character's personality- costume reflects their personality. For example, colour might determine the mood or warmth of the character. The costume also represents their personality, leading to stereotyping of certain outfits; dark colours could represent a depressed character whereas bright colours could show a happy and bubbly person.
• What they are trying to portray? For example, the character must be wearing an appropriate costume which suits their role in the piece. A business woman would be wearing a suit, including a shirt, blazer and trousers to show her authority and importance. A business woman wearing tracksuit bottoms and a bright pink crop top is not stereotypically correct and therefore will not be recognised or understood by audiences, making it difficult for the character to establish themselves. 
• Time period/ Social and political status - the costumes must be suited to the year the piece is set in. For example if your piece is set in the 90's, you must wear clothing appropriate to the fashion at the time, including bright jackets, denim jeans and skirts, block fringe and fluffy hair.
• Budget- ensure the materials you are using are cost effective and you get the most out of what you have got. You need to strategically spend your budget to create successful costumes. There are alternative ways to create character and status without the use of expensive or elaborate materials/ costumes.
• Physical setting- lighting, stage space- the lighting changes the colour of a costume. Practicality is also to be considered, as certain clothing under lighting can become see through, which would be inappropriate to audiences. For example, sequined costumes are a pain for lighting designers as the sequins catch the light and lots of scattered lighting is created as a consequence of this, interfering with the rest of the lighting plan.
• Status- how a character is measured against another character. For example costume can be a large indication of class in productions. For example in period dramas, they make an obvious distinguishment between upper class citizens, wearing delicate dresses and smart suits whereas the lower classes wear aprons, white and black scruffy and overworn garments with dirt on. This shows to the audiences a clear indication of the class divide, visually. This helps the audience understand the social and historical context.
• Original costume- does the original costume design effect and inspire what you have in mind for your interpretation.
• Audience- costumes have to be appropriate to the age and maturity of the audience. Costumes for a child audience may be colourful, have an interesting texture, comical, large and over exaggerated ideas. Children's theatre costumes would feature sensory aids for the children to visually appreciate; lights, texture, sounds and colour.

What is a costume plot?

• This is a break down of the costumes through out the show, a way of organising each detail of the costumes for the characters in each scene.
• This includes, clothing, jewellery, accessorises, footwear, headwear and make up.
• Below I have started my costume plot for my character in We Will Rock You, Scaramouche. In the first few scenes, her appearance is conveyed as care free and natural to her. However from  scene 9 and onwards, she is forced to change her appearance to completely rebel against the negative comments about her dress sense she has recived in her life. Her new outfit shows off her figure well, and shows her being confident in her body, almost as though she is starting to find herself. 

14/10/16 Media piece and Seven Seas of Rhye development

Seven Seas of Rhye

What went well? 

• Firstly I noticed an improvement on the target I set myself last week. This was to ensure I was getting the correct timing for a certain part of the dance, which is an extension, stepping backwards to come forwards again. Last rehearsal I was struggling with the timing and each time I ended up starting a count too early. This lesson I felt myself naturally correct this after the first time I ran through the movement. I had a quick glance in front of my at the other people in the dance and I was son able to pick up the timing and correct myself easily. 

• Secondly Luke and I developed our lift scene, which is now coming together nicely as we have correctly slotted in some transitions which make our movements look fluid and natural. For example we perform a lift, seeing me being pulled round in the air by Luke as I do a stag style leap. This looks strong as I manage to get a lot of height behind the jump. A smooth transition to the next move was what was missing. We choreographed a fluid transition for this, I tumble to the floor and roll over my rot shoulder. After, I do a spin up to standing, holding is hand still and do a leg extension jump, with my left leg extended to the back. Luke reaches for me at this point, conveying the idea of wanting to save me or potentially pull me to freedom. 

Even better if? 

• To improve my rehearing today, I would like to have spent more time working out little details to the dance; asking questions to double check specifics such as ‘is this leg extended or ben?’ or ‘flexed or pointed foot here?’ I feel as though I may have spent too much time actually ensuring I was confident with all of the movements and spacing. This is a positive thing as I know I am confident with the movements however for exact details of the dance, I will need to spend a few minutes going over at some point next week, before our next rehearsal.

Target…

• For next rehearsal I will firstly ensure I am familiar with precious details of the dance, to ensure my technique is accurate. This will have my dance performance look professional and of a high standard. 

Media piece 

What went well? 

• Firstly we managed to choreographed a substantial amount of the dance today in the hour period we have assigned ourselves to do so. We started today off with 1 minute of material and we have ended this lesson with just over 2 minutes of material. This shows we have been able to work efficiently as a team, producing a substantial amount of work for the hour we had to do it in. Everyone listened well to each other's ideas and were able to get on with rehearsing the parts we all individually needed to.

• I contributed to choreographing a section of the piece today. I came up with the idea of everyone starting in the corner and learning the same motif to represent keeping secrets and acting in a mysterious manner. I pitched to the class the idea that Bryleah would lead the dance; she would perform the motif with three other dancers, they would turn around and return to the corner they started from after completing the motif and perform it again, having picked up three other dancers. This happens three times until, the whole cast are dancing the motif. This visually represents the idea of a secret building up and being taken out of context. The more people performing, conveys the idea of the secret being twisted and added to. This idea was used and works well at the part of the dance we ended up at as we are able to naturally filter to the left back stage corner to perform the phrase. 

Even better if? 

• Something we could have improved on today was working with the people around us when dancing. Particularly in my quartet with Luke, Emily and Jaydee I noticed we were dancing well however need to develop our interactions with one another when performing. This is a minor detail when looking at the performance however will make all the difference. The more we exchange glances and keep eye contact, the easier it will be to convey the idea of a secret being the main subject of the piece. For example in real life when there is a rumour, everyone who knows about it exchanges glances and gestures towards each other. By mimicking this idea, the concept of out piece should be easier to understand. 

Target…

• My area to improve on for the next rehearsal is further developing my facial expression through out the piece. I felt myself performing with good facial expressions at some parts however more target is to ensure I keep this up through the whole piece. This adds to the characterisation and conveys the meaning of your character participation, why they are in the dance. 

13/10/16 Planning, rehearsing and performing an ensemble piece

 There are three main parts to successfully putting together an ensemble performance; planning, rehearsing and performing. Each step involves different elements of working together which are all vital in ensuring each step is honoured, giving the ensemble performance the best chance of success. 

Planning- this includes contributing ideas, researching the content of your performance and exploring the subject in depth, making compromises, availability of cast and team and listening to opera house other’s ideas. Ensuring you have a set idea of how you want the performance to look when it comes to the show day is essential as the rehearsal process will fit around this end image. Commitment to the process is also a vital to making the performance work. Each team member must be committed and passionate about their part in the performance. Having team members who are passionate about what they are participating to the process, will take the work to the highest standard possible.

Rehearsing- this includes putting together a rehearsal schedule, tolerance, patience, focus, flexibility and self discipline. This is the step where everyone's works starts coming together. Being patient is vital as this step is also the part of the process where everyone need to put in loads of hard work, ensuring everything about the performance has been covered and polished, ensuring it is ready to be performed. Focus is also important as there is always going to be a certain amount of time the work needs to the completed by therefore a lose of focus is a lose of time which you cannot get back. In conclusion this part of the process must be completed with care and commitment to make the performance the best it can be. 

Performing- your group image/ costumes, choosing your audience, enthusiasm, peer analysis, supporting one another and energy. This is the final step to the process and is where the hard work and commitment all pays off. Energy and enthusiasm are two essential traits all of the team member must have when performing. Watching people do something they enjoy and are passionate about is always pleasing for audiences. Appearing unenthusiastic and bored when performing not only looks unprofessional, it also brings The mood and atmosphere down to a low point which becomes unenjoyable for audiences and performers. 

‘I like the flowers’ is a warm up sung in the round. We split into three groups of roughly 4 people to sing this today. We performed the warm up song twice. Firstly we sung it with no prompt however before we sung it for a second time, we had a class discussion about how we could use performing skills (listed above as the third section) to improve the piece. Relating to the idea of performing, enthusiasm was the first element we needed to improve on. The first time lacked enthusiasm and charisma as we were all too focused on signing the lyrics correctly and ensuring we sung with our groups; keeping in time with the round as a whole. However after mentioning we needed more enthusiasm, the second time round definitely improved. I noticed in myself and when looking at others in my class that we used our facial expressions to demonstrate passion and that fact we were having a great time on stage, performing the song. I also noticed a difference in body language, we all let our vocals and the melody lead our movements, such as swaying from side to side and performing the simple hand actions which go with the song. This looked like it came naturally to us the second time round as we weren't over thinking the technical details as we had these perfected at this point. Eye contact between the whole group and each of the three individual groups helped us support one another. This connection allowed us to be clear on when to start singing and end the singing. This also helped make the transitions smooth between verses. Being aware and ‘awake’ whilst singing, also made sure each group kept to their timing in the round. If an individual in the class was confused about where to pitch their line or the timing, making eye contact with a outer group member made it so much easier to get them back on track. This is a positive way of non verbally communicating when performing. 

A counter melody is the idea that two songs can be sung together by two different vocals, accompanied by one of the song’s backing music. The songs however cannot be chosen at random, they have the musically fit together to ensure the two match and sound correct. We sung two sets of counter melodies today; 1- Adele, Someone like you with Journey’s Don't stop believing. 2- Pink’s Just give me a reason and James Blunt’s You're beautiful. The most difficult part of singing in a counter melody is keeping to your song in your group. Whilst singing two songs at the same time, it is easy to become distracted by the other song’s lyrics. This is where patience and focus comes in during the rehearsal process; you must help others understand how the overlapping of the songs works out and ensure all your attention is committed towards the task otherwise unnecessary mistakes will inevitably occur, wasting time for the whole cast. When performing, we had to bring strong energy to our performances as individual. As a result, this increased the whole volume of the group, making the songs sound brilliant together; you are able to hear the songs counteracting against each other, sounding stronger and more professional as a whole. 

Myself, Luke Emily and Jaydee were put into a group and given the song ‘Crazy little thing’ to choreograph and sing, with the end goal to perform to the rest of the class. We spent the least amount of time on the planning section as we only had 40 minutes to complete all three. Our planning consisted of a small amount of research into the song, listening to it and understanding the pitch and tone. This set us up in a strong position for starting the next step, rehearsing. We spent the majority of our time today on this step as for this quick task, preparing our material was the most important stage. We all listened to one another's ideas and put our heads down, getting on with the task in hand. For example there was one stage where we all had different ideas for s certain part of movement. Instead of debating over whose idea should be used, we civilly decided on which idea to use and made a compromise, to use the other movement ideas in the dance however in another section. This cut down the procrastination which could have potentially taken away some of our time we had rehearsing. Patience also came into play when rehearsing today; we were singing some difficult melody lines between a female and male vocal which took us some time to work out where we were meant to pitch the notes and following on from this, making them sound strong and perfecting them. 

When performing, some of the movements and vocals didn't look or sound as we had initial expected them to in rehearsals for two reasons. Firstly we didn't have a huge amount of time to create the choreography and therefore it wasn't refined as well as we would have been aiming for. Secondly due to the time period assigned for this again, none of us in my group were confident on the lyrics for the song, therefore we didn't sound fully confident. However sometimes these things happen when performing and pitching ideas to the rest of the cast therefore you have to apply other performing skills in the moment, the demonstrate a glimpse of what you have created could look like I'm the future. We apply end the idea of enthusiasm by making the movement we remembered over exaggerated, almost in an appropriate comedic way. This brought a new concept to the piece, as the audiences did enjoy us bringing in an element of humour, even if it was by mistake. Finally, peer analysis came in to play here when getting feed back from them after. As I mentioned, they enjoyed the comedic moments, such as making the movements over exaggerated and turning to the side and leaning on each other whilst singing and performing a crazy motor bike action. This has uncovered a new idea of bringing comedy to the piece as it really worked, which is a positive new idea which came from a mistake. This shows that as an ensemble if things go wrong, you must interact with each other and react to one another's energy; and this could actually bring new ideas to the table. 

My target for the following lesson is to continue thinking about the three stages of putting on an ensemble performance as they have really helped me think about why and how we do each step as a group, working together. 

11/10/16 1st lesson- Blocking

 Blocking- lesson 1

Page 22- This section of dialogue between Galileo and Scaramouche, directly after they have finished singing their duet, Under Pressure. The pair are confused about what Globalsoft have done to them and they are clueless to why they could possibly be of help to them.

I want to convey to audiences that in this scene Scaramouche secretly is willing to spend time with Galileo and find out why they are in demand. However she verbally sounds blunt and stand offish when talking to him. This shows her character is the type to play hard to get and not give too much of her emotions away to audiences and Galileo. “Don't call me baby” I will deliver this line quickly after Galileo calls her baby with a harsh tone, to show she is against the idea of being his ‘baby.’ This shows she can stand up for herself in a potentially vulnerable situation. 

Page 29-31 

This scene sees Galileo and Scaramouche getting to know one another on a personal level, exploring each other's personality traits and persona. Scaramouche shows her vulnerable side in this scene by telling Galileo that the GaGa girls hate her and that she feels as though she doesn't fit it. She puts on a front that this doesn't bother her and she is perfectly fine living life ‘alone’, however we can see from subtle hints that she is secretly after someone to share her life with and invest herself into. For example she states she has never had a real friend and would like one. On the other hand she stays composed and gives off the persona that she is judgmental and confident in herself and the person she is, for example “sounds like bollocks to me” and “you're an arrogant, self important arsehole!” I

I will deliver these lines with harsh and blunt tones, delivering the lines quickly, as if she knows she shouldn't be talking to Galileo in such a way. I will use my face to express the emotions too, by turning my head away from Galileo, showing she cannot look him in the eye when talking, maybe as she doesn't fully mean what she is saying. Scaramouche puts on an act to seem fearless however she is, at heart, after someone to accept her for who she is. 

On page 29 Galileo is talking about how he hears words in his head. During him speaking, I will be walking around him from a distance and looking at him, listening with interest into what he is saying. However when he stops she replies with “sounds like bollocks to me.” With this line I will make it look like she snaps out of a trance, almost in awe of what he is saying how ever when he stops, realising she is showing interest and therefore makes a conscious effort to cover up showing interest to him. This is another way of conveying to audiences that the energy she gives off to Galileo is not what she is necessarily thinking. 

Also last scene blocking with everyone, explain unity in this piece everyone hugging and being happy, it is a celebration

As our final task of the day, we did some experimenting with blocking for the final scene of the musical, We are the champions. We had the idea that the whole cast meet in the middle of the stage, singing the song and enjoying each other's company. We added in clapping, smiling, arm gestures towards one another and hugs to make it look as though we were united as one after finding the hidden rock and rediscovering genuine music after so many years of struggling. These ideas we found would work well for the end scene as they show unity within the community of rockers and Bohemian's. This is something we will further develop in lessons to come. I feel as though we have made a positive start today on blocking as I now have a better understanding of how I wish to play my character, Scaramouche. I now know I want to really make the contrast visually obvious to the audience between her thoughts about Galileo and the way she acts. I will do this through tone of voice, body language and facial expressions. My target for next rehearsal is to keep developing this idea of showing s contrast, and to find new ways of developing this. I will think about audience interaction and how I can relate to audiences to show the difference in her thoughts and the way she acts.

07/10/16 Media piece and Seven Seas of Rhye choreography

 In today's lesson we split it up our time, spending an hour on one dance project and after, spending the last hour on the other project. Our first hour was spent choreographing the Seven Seas of Rhye dance for WWRY and the second hour was spent developing the media ensemble dance piece we creating. 

Seven Seas of Rhye

Firstly we established the type of movement we were going to be creating for this number in the musical. The song is sung by commander Khashoggi, who has the power to send Bohemian’s to the Seven Seas of Rhye as a punishment for holding too much musical information. As rock music is forbidden in the world (300 years in the future), Khashoggi is ordered to capture Bohemian’s, such as Galileo, who hears words which are song lyrics, by the Killer Queen as they could give away secret information about where the hidden rock could be hiding. Therefore for this song, Khashoggi is singing about is land and how he has he power to banish characters there easily. The movement, we decided, is going to be very restrained and we will create movement which make us look like we are struggling, under Khashoggi’s capture. We came up with the idea to perform movements as if we were captured in a bubble however able to make slightly movements as an escape for freedom. Everyone had to pick four freeze frames to hold for four counts at the beginning of the dance. I chose reaching movements, one to the right, to the left, straight upwards and one in front of my body. I made these reaching movements with my arms stretched out, with splayed hands as if reaching for help and support to escape the bubble of capture. We mere all on different levels, to show the stage was busy and give the audience lots of visuals to feed off of. I was sat facing away from the audience at the back, others were dotted around, some sitting and some standing. This also was used to show a contrast in levels. The audience are able to see everyone clearly in this formation as well, making spacing clear. 

The main motif, which we repeat in the dance, shows reaching for freedom from Khashoggi's power. Movements we show this through in the motif include reaching with splayed arms, contractions of the torso and moving around the space as a whole, utilising it well. Reaching with splayed hands and extended arms features multiple times in this number as it successfully conveys the idea of the need for freedom and the desire to escape. Also performing this move to audiences allows you as a performer to make eye contact with the front few rows of audiences, which makes them feel a part of the show. This reiterates to the audience, how much the characters want to escape, making them feel a part of the show as it is happening in front of their eyes. The contraction of the torso comes after the reaching movements, showing pain and the characters being pulled back into the state of being trapped and unable to escape. This following movement almost makes the audience feel sorry for the characters as they haven't been able to escape. The body contraction is followed by hunching over the body, to show being trapped and controlled by the Globalsoft corporation. Finally the idea of using the whole stage and having the performers spread out and scattered, makes the stage look busy, giving off the impression that the need for freedom is desired by everyone. The busier the stage, also shows just how many characters are controlled by Globalsoft. The more movement seen on stage, the more people is appears to hold. This is a great technique to ensure the stage looks full at all times, even if it isn't. 

Media piece 

We started off this hour by running through the material we had previously created to ensure it was fresh in our minds. The development we made today to this dance was inspired by Emily, Talia, Jaydee and Megan’s group work from an earlier lesson. This included them dancing as a four piece in a line. The line was staggered and look like a stair case, Megan being the top step, standing up and Emily being the bottom step, sitting on the floor. We were naturally split into groups of four, according to where we were placed on stage at the point in the dance where we are inserting this motif. The whole idea of this motif is to show passing a secret from person to person and the motif ends with the secret being back where is started however in a different form (a contrasting movement). This almost shows the idea of Chinese whispers, messages being passed from person to person, until they come out from the press, a totally different story to the original. 

The movement started with the floor people, which I included me, reaching coward with our arms in front of us, and scooping up the secret. We then turned around and passed it the next person. This invisible secret was gradually passed up and then down the group of four dancers, showing the journey of the secret. We used turns of the head and body with  sharp dynamic to convey how quickly and easily stories can be changed and manipulated. We had four groups of four mirroring each other and performing the same movement at the same time. This looked effective as it gave the piece more of an impact, showing the idea of stories being manipulated happens very often in the media. 

I feel as though today has been a successful lesson as we have created almost a minutes worth of the Seven Seas of Rhye number which we started just today and developed and expanded on the movement for the media piece. My target for next lesson is to use my body more when performing the WWRY piece, this will allow me to further develop my characterisation of someone trapped and wanting freedom. The more I commit to the movement with my body, the easier this will become. Another target for myself to improve on by next lesson is to work on my timing of a certain step in the WWRY piece. Each time we rehearsed it in class today, I started the step forward a count too early. I did this as it was where I naturally thought the beat was in the music. I will have to run this part through a couple of times to ensure my timing is the same as the rest of the cast’s. 

06/10/16 Choreographing an ensemble piece- Under Pressure

In today's lesson we had the task of vocally arranging and choreographing an ensemble number from WWRY in our double cast pairs. As Scaramouche I was paired with Amber and our two Galileo’s, Megan and Luke. This task was good practise for everyone as it allowed us to work in a group to figure out how each pairing wanted to perform their character. Everyone's interpretation of their character will be different and varied; this was the first chance we have had in the process so far to work with our partners and to see how we bounce off each other whilst performing. 

We chose the song Under Pressure to perform to choreograph and perform to the class we all felt it gave each character, Scaramouche and Galileo an equal amount of song to perform and explore. The song also includes duet parts which enabled us to explore the dynamic of us performing as a pairing. As a group of four we went through two stages of rehearsing our chosen song, Under Pressure. We started off with the vocal side, practising who will sing each part and working out the emotion behind the song. Secondly we moved in to the dance studio and rehearsed the movement we were going to put with the vocals. This is when the performance came to life as we were able to interact within or pairings to achieve more chemistry and emotion on stage and through the song.

Today we spent roughly 40 minutes preparing the vocals of the song and within this time from start to finish, I could definitely hear an improvement from all four of us. The first couple of times we sang the song through, we all sounded okay however we soon picked up on the parts we needed to improve on before performing later in the lesson. We worked on developing the harmony sections of the song, which were towards the end. At first we had trouble figuring out where to pitch the female harmony note. We seemed help from our teacher who helped us find the note, which technically worked however sounded slightly odd when we first tried it. This was because it wasn't exactly 3 notes above the base note however was technically correct. Once Amber and I got used to singing this note against the make part, we became more confident with it and each time we rehearsed, it improved in quality. The volume and confidence of all four of our vocals improved through out the rehearsal time we were given today. We started off singing the song well however as the time went on, I could notice a difference in emotion and confidence behind the lyrics. As we became more comfortable with the song, the volume of our vocals improved which brought such character to the song. 

Next we developed the movement side of the number, once we had finished developing the vocal side. We decided to stage it in our casting pairs, Luke and I and Amber and Megan. We made this decision so we were able to explore the interaction with our partners. This will help the process building up to the show week as the more time we spend in our pairings ok stage, the better our presence and chemistry will become to our audiences. Working with our casting pair on the number also allowed us to learn how the other moves on stage. This is a positive as the more practise we get with our partner on stage, the more developed and comfortable we will look on stage on show week. Luke and I decided to do slightly different movements compared to Megan and Amber however this worked as the movement was similar however it showed the difference in how both pairings will play the characters. For example Luke and I did a simple walking movement which saw me walking backwards and him walking towards me whilst both of us were singing. This showed the chemistry and connection between the two characters. We showed this with facial expressions showing happiness and enjoyment, demonstrating to audiences their positive relationship. We held hands at several different points and walked forwards together, to show unity and confidence as a couple. Audience interaction was another element of the choreography that we included. This is a brilliant way to ensure the audience know they are a part of the content on stage and is always necessary in musical performance. We used clapping, eye contact and positive facial expressions to express to the audience that their participation is valid and welcome. 

The feed back we got after performing was positive- 

- You could see the chemistry between Luke and Holly starting to blossom through their body language and facial expressions whilst performing.

- The way the two couples performed on stage at the same time however interacted in their pairings worked well as you could see how both couples will interpret to roles differently.

- The harmony sounded strong and confident.

I feel today's lesson was successful as I have firstly learnt more about Luke and how he interacts with me on stage and I have picked up how to correctly execute a difficult harmony. Next lesson I plan to develop my quality of performing and take my stage presence to the next level by combining my movement and vocal skills in a more professional and accurate way. I will do this by learning the Under Pressure lyrics fully, this will allow me to fully concentrate on my movements and vocals, which will bring our characterisation naturally. 

S club 7 Presentation Evaluation

S CLUB 7 VIDEO






Firstly I was aware of a large amount of information about the band as they were significant figures in my childhood and through out growing up. I played the character Tina who I researched in depth to find out extra information about her such as how she got into the group, her life background and what she is doing now, in the present day after the band’s split. When blocking the staging of the piece, I played a large part in directing this, suggesting where each member of the band could stand on stage and inputting why it would look good to audiences. For example I came up with the idea of standing in a band formation at the beginning of he show, mimicking photographs of how S Club 7 would stand for paparazzi and press shoots. They all stood in a playful group, smiling and making silly gestures towards each other and the audiences. They would do this especially in their early career as they were a fun loving band with a young target audience. I suggested we do this to show that the band were young at the time and offered appropriate content and material to their young viewers. I also helped contribute to the order of which we showed events through out their career within our performance. We decided to take the chronological route as it made sense to show their process and how they started out as ‘pop’ stars and eventually moulded to more of an RnB style as they ch aged as people and matured.

As a group we came up with the idea of taking a comedic approach to our performance as we feel this will help us remember all of the information we include when it comes to forming the essay at the end of the project. We decided to perform the events of the band’s career and their highlights in chronological order, demonstrating to the audience how they became the band they are know as today. To make the devising process flow nicely, we decided to split the group up into four separate groups and designate a section of research to each group. This allowed the informative side of he performance to be broken down for the audience, allowing them to understand the content.


We split up the research part of the project to make the work load evenly spread between us all. For example Bryleah and Jordy researched the Miami 7 TV show, following with Luke and Talia researching the band's top hits. After this Amber and I researched the formula of S Club and how each member represented a certain type of character or person in the time they were making music. This made the band more relatable to the target audience of teenagers and the band almost adapted what they wanted to the music they produced. This means that S Club were pop based for the main part of their career. We then went on to research the social changes at the time and how these effected the style of music that the band produced. They transitioned to RnB music, when Paul Cattermole left the band.

I have discovered that splitting up the work load we received as a group really helped us to make the work we produced of a high quality. This technique also allows for different peoples opinions and interpretations of the research to be found, giving the presentation a new and fresh dynamic. Working as a team and supporting one another has also come to light through out this process. Listening to everyone's individual ideas and blending them with other thoughts also allows for new concepts to be created, improving he quality of your work even more.

I feel my group worked well together by listening to each other's ideas and making compromises where necessary. Also entering the project with a positive mind set helps make the process more enjoyable for everyone. Another aspect of the dynamic in our group that went well was including comedy in our performance. Now, I will be sure to remember the humour in our performance, and therefore remember all of the information linked to it. This is a positive learning strategy as it has helped me improve my memory.

If we were to do it again I would definitely assign more time to the project as I feel in the rehearsals we were slightly rushed for time. From an audiences point of view, we could have spent more time working on our transitions between scenes, this would have improved the quality of our performance and made it easier to follow and interpret.