Contents Week 2 Summer term 2008 Warwick Arts Centre Studio ...

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In addition we would also use other methods to publicise the play. Some original ideas include placing empty water bottles full of dark red water (suggesting blood) with a pair of intertwined wedding rights floating inside. We are naturally planning on exploiting Facebook to its full potential as well as various Warwick Media outlets – the Boar, RaW – to create events, groups and general hype. Local media outlets will also be contacted. In order to provoke the Warwick students we may hang a white bride's dress covered in blood with a “Coming Soon” sign. Another important aspect of the campaign will be the organisation of a “Wedding” party in the last week of term where we can tie up people with different partners and swap them every half an hour which would create a very intense atmosphere. Not only it will generate extra revenue for publicity purposes but would also attract more potential audience. JJ will be creating a website and a trailer as well. Below is a selection of images important for marketing and the play’s themes in general: 16
Auditions Auditions will be held in 2 sessions, each 2-2.5 hours depending on attendance. • 1 hour of workshop-based activities including ice breakers, group exercises, movement, physicality and dynamics • 1-1.5 hours of speech based auditioning; actors will be given extracts from the script and 5-10 minutes to prepare and perform individually, in pairs We will advertise in the audition notifications that candidates need to come with a song or a verse of a song prepared as a number of the roles involve singing. At the initial stage we will be looking for passion, for duende, for energy and response to direction and honesty in performance. Recalls will be held in two large group sessions with plenty of script work and individual interviews as we need to watch certain characters perform together, their chemistry and dynamics and of course their ability to capture the lyrical verse of Lorca. When it comes to acting style we w ill be looking for performers rather than actors. We are interested in people’s talents and how we can make room for them within the framework of the show. At the very core of Blood Wedding lies Lorca’s poetry so we need performers who can make the text ring true to an English audience without it sounding embellished or forced. We want to strip them bare as actors and then build them up again adding layers of intensity and tension. We will also film the auditions and recalls on Petia’s camera in order to have a better recollection of actors’ performances when we sit down to make decisions. Often in long auditions it is very difficult to stay objective for a long period of time remembering details of everyone’s performance and we feel use of the camera will give us greater objectivity. Methodology There are a few basic principles which we as a team (and hopefully our cast) want to adhere to. This includes an attitude of curiosity and exploration. We always want to be asking questions, even as we make creative and production decisions we want to constantly be questioning our vision, the themes of the play, our cast and learning from those questions. We want to maximize creativity by refusing to settle down on the first solution (whether in blocking or lighting design) that comes our way but keep experimenting until we have reached a cutting point. We realize this is an extremely challenging show both artistically and technically and we want to implement a 3-solutions programme. It involves having 3 ways of solving every problem or approaching every challenge. These solutions will range from our ‘dream option’ to ‘safety back-up’ as we are aware that sometimes we will have to compromise due to budgetary and time constraints. We hope to create an atmosphere that focuses on collaborative technique, where every crew and cast member feels like they can contribute creatively through proper channels of communication that are set out in advance. They should feel that their ideas will be given a try no matter what which increases trust in the ensemble and makes us more prone to taking chances. And as we all know, it is in risk-taking that theatre finds some of its best moments. This does not mean anarchy of course. Ultimately, creative veto lies with the director and once we reach the Easter holiday rehearsals she will have to start limiting the flow of ideas and we will set things in stone. 17
Page 1 and 2: Submission pack Warwick Arts Centre
Page 3 and 4: When fire meets fire a single tiny
Page 5 and 6: the business to exhibit at Art Fair
Page 7 and 8: About Blood Wedding & the theatre o
Page 9 and 10: Listen…always be affectionate wit
Page 11 and 12: Death: Death is personified as a Be
Page 13 and 14: A simple effect of a fire in a bin
Page 15: S urreal Characters: Their costumes
Page 19 and 20: 9 Design hoodies General movements
Page 21 and 22: Notes on budget 1. Capacity estimat
Page 23 and 24: Hi OJ > > Was great to chat to you

Contents Week 2 Summer term 2008 Warwick Arts Centre Studio ...

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