Dragon’s Den for Designers Emily Seekings Lucy Hammond Teresa Malloy  Gemma Hutchinson
Trent Dance presents;  ‘FAME the Musical’  at the Royal Concert Hall, Nottingham <ul><li>Nottingham Trent dance society pe...
Review 2 Angel house is a play centred around 2 brothers, and was preformed in the Nottingham playhouse. By the theatre co...
Review 3 <ul><li>Oundle Gilbert and Sullivan Society present The Gondoliers. The venue is the local village hall which has...
How does theatre work differently to a filmic experience of a night out and in what ways do designers and producers of wor...
Chosen Venue; Royal Concert Hall <ul><li>We have chosen this venue due its adaptable nature. The modern look and simple la...
 
The Pitch S ex Education Aim;  To reduce the risks of potentially negative outcomes from sexual behaviour and enhance the ...
Areas to be covered; <ul><li>Sex </li></ul><ul><li>Sexuality </li></ul><ul><li>Peer Pressure </li></ul><ul><li>Contracepti...
Our pitch will be split into two parts; <ul><li>Performance </li></ul><ul><ul><li>A combination of audience participation ...
The performance; <ul><ul><li>The main speaker will ask the audience questions, and their answers will help move the perfor...
The workshop; <ul><li>At the end of the performance the workshops will be used to build on and ensure that certain aspects...
<ul><li>The workshops are: </li></ul><ul><li>Hot seating  –  </li></ul><ul><li>The actors used in the performance will be ...
<ul><li>Audience </li></ul><ul><li>The actors will be placed inside a circle with the audience members surrounding them th...
<ul><li>The object of this workshop game is to collect as much information as you can from the characters to get an idea o...
<ul><li>Host of the party –  </li></ul><ul><li>The object of this game is to use one specific topic such as   </li></ul><u...
<ul><li>The out come of this game is that attention to detail is focused on and also the information that is given to the ...
<ul><li>Park Bench –  </li></ul><ul><li>  </li></ul><ul><li>Park bench is a game that involves each member of the audience...
<ul><li>During this workshop game the whole audience has a chance to participate and have a chance on the bench this is do...
Royal Concert Hall benefits <ul><li>The workshops would be best performed in the conference suits of the royal concert hal...
<ul><li>This is the seating and stage plan of the royal concert hall: </li></ul>
<ul><li>If this was to happen then the workshop format would change as there would be too many children to fit in the spac...
References <ul><li>www.likeitis.org </li></ul><ul><li>www.royalcentre-nottingham.co.uk </li></ul><ul><li>http://www.royalc...
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Dragons Den - Sex Education

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Dragons Den - Sex Education

  1. 1. Dragon’s Den for Designers Emily Seekings Lucy Hammond Teresa Malloy Gemma Hutchinson
  2. 2. Trent Dance presents; ‘FAME the Musical’ at the Royal Concert Hall, Nottingham <ul><li>Nottingham Trent dance society performed an amateur production of the well-known musical, ‘Fame’. A lot of time, effort and skill obviously went into the production, which was solely organised my students. The final outcome was spectacular, with a live orchestra who have performed in the West End, an impressive lighting display and, of course, fantastic performance skills. </li></ul><ul><li>The set was hired for the night, and consisted of a balcony, two sets of retractable stairs, and a section which was either blacked out, or had distorted (so as to not obviously reflect the audience) mirrors placed in front of it for the ballet scenes. This was also where the famous yellow taxi emerged from for the finale. It was a compact set, but very workable, with the retractable stairs, accommodating more cast members for the big dance scenes. Despite the professional set, however, it was not all that appropriate for the Royal Concert Hall. For example, stage hands had to push the taxi forward in the finale, and the truck on which a drum kit and keyboard sat for the music students also had to be manually pushed on stage and secured each time it was needed. </li></ul><ul><li>The sound system also had a few glitches, with the microphones cutting out for no apparent reason. Even the sound guy couldn’t find an explanation. </li></ul><ul><li>Due the amateur nature of the production, only one day on stage with the set and technical team, meaning preparations were rushed and technically problems couldn’t all be resolved. </li></ul><ul><li>However the acoustics of the building helped the performance greatly, as the untrained voices travelled much further. </li></ul><ul><li>The building itself was very modern, with a glass front and sweeping curves achieving an impressive finish. It made a change from the classic, ornamental, red velvet look of many theatres. The seating arrangement was also very good, as it was set back in an almost cinematic format, without much curvature, practically eliminating possible blind spots. Being a concert hall, the layout could also be adapted to suit many different occasions and audiences. Seats could be removed or rearranged, masking brought in or taken away, orchestra pits created. The audience sizes could be adjusted by excluding certain tiers – as was an option for the Trent Dance team, though they didn’t take it. </li></ul><ul><li>Overall the performance was a success, though as a member of Trent Dance, I am a little biased, but it has received rave reviews from both students and members of the public with no link to the university. </li></ul>
  3. 3. Review 2 Angel house is a play centred around 2 brothers, and was preformed in the Nottingham playhouse. By the theatre company Eclipse. The two brothers who grew up in the same rough neighbourhood, have taken completely different paths, and display some of the troubles that affect these communities. The play goes over drug and domestic abuse, sexuality and relationships; however it doesn’t seem to resolve the story at the end. There is no solid conclusion it simply puts these various situations out there for the audience to interpret. There were a lot of scene changes throughout the play which had the locations light up whilst props were being moved around, I found this a bit of a cheat but it did help in keeping up with the plot. The set was very simplistic a simple window backdrop, with battered scaffolding and rubble with a stairwell in the centre. However I found the floor very strange it was a blue floor with dirty white stripes coming from the centre it didn’t seem to fit with the feel of the play. The theatre space in the playhouse has 2 levels and a raised stage, it can be played with but there are limitations – the seating is set there are stalls and a circle. With this play the set was very far forward so it was a bit more personal. Overall the play was very real and I felt the some actors brought the emotion out extremely well – particularly the character Mrs J the boys mother who has toiled in raising them and now struggles to see them falling, she also brings some humour to the play.
  4. 4. Review 3 <ul><li>Oundle Gilbert and Sullivan Society present The Gondoliers. The venue is the local village hall which has approx. a 200 seating capacity. The village hall has a characteristic village look about it and but it also has a stage. The hall is transformed into a theatre for the week of the show and all equipment for stage lights and sound come from a specialised stage electrics company. The lighting design was of a natural state and I noticed that for higher definition Mac tm lights were used. The cast is an amateur one and has around 30 mixed gender and age members. The performance was good but the content of this show was a little plain unlike the previous year when they performed HMS Pinafore. The costumes were of the Italian look as the play was set in Venice. The backdrops and scenery were hand painted, also the props were designed and hand made. The make up in some scenes especially with the duke and duchess was amazing and really brought out character as did the costumes as there was a great sense of finishing off and detail. The auditorium was full on the closing night and this really added to the experience and atmosphere. The singing was of a very high quality and the live orchestra performed marvelously. The pyrotechniques at the finale of the show meant the audience went out of the auditorium remembering a fantastic performance. The experience of watching the performance was good and I thoroughly enjoyed it. </li></ul><ul><li>This venue would not be suitable for the sex education performance as the audience would not fit into the auditorium comfortably and the workshop would not be able to take place at the venue as there is no extra rooms or space. </li></ul>
  5. 5. How does theatre work differently to a filmic experience of a night out and in what ways do designers and producers of work need to reflect on these issues? <ul><li>Filmic productions, however, go through a lengthy process of editing, meaning the finish product has a manufactured, mass-produced feel. Theatre on the other hand, despite rehearsals and the production process, still leaves a lot to luck on the night. </li></ul><ul><li>Theatre has a higher sense of anticipation surrounding it, as it is live. Every night is different, giving the audience and spontaneous, individual experience. </li></ul><ul><li>Everyone involved in the production of a theatre performance goes through a lengthy rehearsal process, to make sure everything is as perfect as it can be. Whereas filmic production leaves all the perfecting to the end. </li></ul><ul><li>The experience of going to the theatre is much more emotional and exciting than that of going to the cinema. Although they are both seen through a viewing window (at least for a proscenium arch theatre), the very fact you are witnessing real, life-size people performing a scene makes you much more emotionally involved. </li></ul><ul><li>Filmic productions can manipulate what an audience sees through camera angles and close-ups. In theatre, this is not an option, so designers and producers need to take into account the range of an audience’s vision and curiosity. </li></ul><ul><li>As a night out, people seem to make more of an effort when going to the theatre than a cinema. It is transformed into an exciting event, with a few drinks maybe at the bar before hand. The fact theatres serve alcohol and more sophisticated snacks, demonstrates the exclusive nature of the event. However tickets can be got very cheaply, in some cases cheaper than a cinema ticket, making it open to everyone. </li></ul>
  6. 6. Chosen Venue; Royal Concert Hall <ul><li>We have chosen this venue due its adaptable nature. The modern look and simple layout work well with what we want to achieve. From the Royal Centre website; </li></ul><ul><li>“ The Empire Theatre of Varieties opened alongside the Theatre Royal in 1898 on the site of the Theatre Royal’s old dressing rooms. The Empire lasted 60 glorious, racy years showing risqué comics, saucy ladies, mind-boggling magicians and rock ‘n’ roll stars, with huge billings including Charlie Chaplin and Harold Lloyd. However, it closed in 1958, and was demolished in 1969. </li></ul><ul><li>Construction of the Royal Concert Hall began in the 1980 and was completed in 1982. The air conditioned auditorium seats 2,499 and has highly complex and versatile sound and lighting system. </li></ul><ul><li>The Royal Concert Hall is one of the most popular concert venues on the touring circuit, attracting leading orchestras, comedians and dance acts, plus rock bands and solo artists from all over the world. It’s versatility and size make it ideal for conferences, exhibitions, scientific lectures and product launches.” </li></ul><ul><li>It is also central to Nottingham – a main town – increasing accessibility. The venue itself can provide parking for coaches, and important bonus for travelling school groups. </li></ul>
  7. 8. The Pitch S ex Education Aim; To reduce the risks of potentially negative outcomes from sexual behaviour and enhance the quality of relationships. To also develop young people’s ability to make decisions in their life. For school groups between the ages of 11 and 16
  8. 9. Areas to be covered; <ul><li>Sex </li></ul><ul><li>Sexuality </li></ul><ul><li>Peer Pressure </li></ul><ul><li>Contraception </li></ul><ul><li>Emergency Contraception </li></ul><ul><li>STI’s </li></ul><ul><li>Pregnancy </li></ul>
  9. 10. Our pitch will be split into two parts; <ul><li>Performance </li></ul><ul><ul><li>A combination of audience participation with a main speaker, and scenarios performed by teenage actors. </li></ul></ul><ul><li>Workshop </li></ul><ul><ul><li>A chance for the audience members to process what they have learned, embedding the information. </li></ul></ul>
  10. 11. The performance; <ul><ul><li>The main speaker will ask the audience questions, and their answers will help move the performance along. For example, suggesting different types of contraception. This speaker will relay most of the important information to the audience. </li></ul></ul><ul><ul><li>The age of the actors will help the audience relate to the material they are being shown. </li></ul></ul><ul><ul><li>The scenes will include places the audience can relate to, such as a playground; a classroom; a bedroom; a living room; a party. </li></ul></ul><ul><ul><li>Different scenarios will be acted out, to visually relate the information to their own lives. There will be a scenario for each topic. </li></ul></ul><ul><ul><li>The set will be designed to look like a TV, with rotating areas in which different scenarios can be performed. </li></ul></ul>
  11. 12. The workshop; <ul><li>At the end of the performance the workshops will be used to build on and ensure that certain aspects of the information presented to them were understood and useful. </li></ul><ul><li>  </li></ul><ul><li>Using drama based exercises the children can explore the embarrassing uneasy topic of sex in a slightly less formal way. </li></ul><ul><li>  </li></ul><ul><li>The exercises can be tailored to certain subjects or topics if the school wish to cover different ones. The age range of the audience members can be adapted also so that it’s geared more towards the older age range or the younger. </li></ul>
  12. 13. <ul><li>The workshops are: </li></ul><ul><li>Hot seating – </li></ul><ul><li>The actors used in the performance will be put in place as the hot seated characters each character will have a different scenario or story. This gives the children/audience a four or so different points of view and topic of conversation. </li></ul><ul><li>  </li></ul><ul><li>1 st character - a person, boy or girl, who has had under age sex and is pleased they have done it and does not regret the decision </li></ul><ul><li>  </li></ul><ul><li>2 nd character - a person, boy or girl, who has had under age sex and regrets it. </li></ul><ul><li>3 rd character - a person, boy or girl, who has waited until they were 16 to consent to sex. </li></ul><ul><li>  </li></ul><ul><li>4 th character - a person, boy or girl, who hasn’t had sex yet and is at the age of 16 or over. </li></ul>
  13. 14. <ul><li>Audience </li></ul><ul><li>The actors will be placed inside a circle with the audience members surrounding them this is then the set up for the whole workshop game. </li></ul>Actor
  14. 15. <ul><li>The object of this workshop game is to collect as much information as you can from the characters to get an idea of who they are and what their stories are. </li></ul><ul><li>  </li></ul><ul><li>Participating in this will give the audience a chance to see different situations and their outcomes and also the different approaches people take to dealing with issues. </li></ul><ul><li>Emotions play a big part and could be explored more in emotion memory tasks, as this is what the actors may use to put themselves in the shoes of the characters they are playing. </li></ul><ul><li>  </li></ul><ul><li>This workshop is geared around the 12 to 14 year olds (which is year 8 and 9). This means their understanding would be enough of drama and they will have some knowledge of the sex education subject also. </li></ul>
  15. 16. <ul><li>Host of the party – </li></ul><ul><li>The object of this game is to use one specific topic such as   </li></ul><ul><li>STI/STD’s (love bugs) </li></ul><ul><li>The audience are put into the room and then the host is separated from the rest of the group. The group then decide on what for example STI/STD they are and then they are let into the party. The host immediately starts to ask questions to find out what/who the guests are. </li></ul><ul><li>  </li></ul><ul><li>The topic can be changed to suit different participants and group sizes can be altered to manage the amount of people. </li></ul>
  16. 17. <ul><li>The out come of this game is that attention to detail is focused on and also the information that is given to the audience can be re processed so that the children have learnt more and have a larger understanding on the raised topics. </li></ul><ul><li>  </li></ul><ul><li>The light heartedness and the in formalness of the game mean that embarrassing issues are able to be broached with out making the audience uncomfortable or uneasy. </li></ul><ul><li>  </li></ul><ul><li>This adds a little more oomph to the simple question and answer session. </li></ul><ul><li>This is a workshop game that is geared more towards the 14 – 16 year olds as it takes confidence and some quizzing to find out the answers. A younger group may be fine with this as it is a workshop that involves more than two people. </li></ul>
  17. 18. <ul><li>Park Bench – </li></ul><ul><li>  </li></ul><ul><li>Park bench is a game that involves each member of the audience. It starts out with two people sitting on a park bench, or any kind of seating arrangement. The two people strike up a conversation using any of the issues topics, performed or discussed. The two people make up there own characters and proceed to talk to each other and find out more about themselves and their situations. </li></ul><ul><li>  </li></ul><ul><li>The rest of the audience are seated in front of them which means they are able to see and hear the progress that the two people are making and the rest of the audience can monitor what sort of characters there are and what topics of discussion have already been used. </li></ul>
  18. 19. <ul><li>During this workshop game the whole audience has a chance to participate and have a chance on the bench this is done by the next person tapping the person they think would need to be changed. </li></ul><ul><li>  </li></ul><ul><li>The older age range may be best suited to this as it is nerve racking as you would be sat performing a duet in front of an audience. </li></ul>Audience 2 participants and park bench
  19. 20. Royal Concert Hall benefits <ul><li>The workshops would be best performed in the conference suits of the royal concert hall as it gives a chance for the schools to use the amenities and the group sizes are able to fit in much more comfortably. Class rooms would be easier maybe but the actors would then have to travel. Also it saves the schools money as they would be using more facilities and only paying for one days hire. </li></ul><ul><li>  </li></ul><ul><li>The stalls seating would be the best option for the schools sex education performance as the amount of children would not fill the 2500 approx. seated theatre. However the production could be performed for a much larger audience that would fill the theatre, the larger audience would be a county schools performance bringing all lower school children to see the show and participate in the workshops. </li></ul>
  20. 21. <ul><li>This is the seating and stage plan of the royal concert hall: </li></ul>
  21. 22. <ul><li>If this was to happen then the workshop format would change as there would be too many children to fit in the spaces provided. Scheduled lunch breaks would mean that the mass of children would be dispersed into smaller manageable groups. </li></ul><ul><li>  </li></ul><ul><li>Another way of managing the audience size and getting many more audience members in to the production would be to have a matinee show and an evening show but this would mean that the second show would not be able to take part in the workshops as the end time of the performance would make it too late for the workshops to take place. </li></ul>
  22. 23. References <ul><li>www.likeitis.org </li></ul><ul><li>www.royalcentre-nottingham.co.uk </li></ul><ul><li>http://www.royalcentre-nottingham.co.uk/documents/9c%20rch%20stageplan%20a4%20scale%20200.pdf </li></ul>

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