During the two weeks which we did not get to meet them, they did not practice their lines and movements. It could be exams and we do not want to put false blames or falsely point fingers but we, as facilitators, need to re-plan, re-devise, re-strategise our plan. Because terms change and we need to re-plan according rather than giving up on the students and the performance. We shortened the scripts, gave them less props, shorten their lines. Syahiran also did not come for rehearsals so we decided to take him out of the script.
1st rehearsal Joanne and I could not attend because of lessons at NIE. Ahmad did blocking with them for the first half of the rehearsal.
The 2nd rehearsal we decided that each one of us (Joanne, Ahmad and I) will do blocking sections by sections so that the work is spilt equally and each of us get a chance to do directing and blocking with them.
Performance Day (18/10/12)
Students were all present on that day! Unfortunately, Syahiran
did not come for the two rehearsals, so we did not assign him a role in the
play but we did assign him to be our cameraman. Even though he could not take
part (apparently, we could see he regretted it), the little role of a cameraman
gave him a sense of ownership that makes him feel that he is still part of the
team. He has to learn the hard way of not coming for rehearsals because if we
allow him to be involved in the play, it is not fair to the rest, who really
practiced very hard for their play.
The students were really confident and there was a sense of
team bonding. Whenever their friends forget their lines, they will encourage.
They even know which movements are the next! I was really thrilled when they
were engaged in the play and how they worked so hard to memorise lines, be
focused, know their cues, etc. Everyone, especially the Nian, was acting so
well in their characters. We did taught them characterization, imagining how
their characters will be like. We did help them with their actions by modeling
it for them, like how the Nian should swing his tail, or how the old man should
walk. Modeling enables them to visualize better by forming the characters in
their minds. The students were so nervous and afraid because of their lines and
actions, but it was heartwarming to know that they do feel a sense of
nervousness instead of being reluctant in doing this project because these
students were quite reluctant during the first few lessons of drama.
Today’s performance was a breaking point for everyone, both
facilitators and students because we are all tested and our strengths and
weaknesses are exposed. I was satisfied with working with Joanne and Ahmad
because we were able to negotiate well and compromise with one another. We help
one another understand and plan. However, when it comes to working with the
other group, it was quite difficult because some times we cannot come to a
consensus and there are many misunderstandings. One matter we faced for example
was who should bring the props up from the art room? Should our group help to
take their props up? Should we bring the kids back to school after the
performance? What if some of us cannot make it during that time? How do we
compromise each other?
Compromise needs to have the openness of heart and mind.
For first timers (Ju Ying students) of performning a play, I
feel that the performances were very successful. Make up was good and I think
it was necessary because it makes them feel part of the performance. It makes
them feel real and look good on stage. Very pleased with the outcome though at
first we were worried about the time frame and how they are working with it.
Venue for performance was good because glass door enabled the people walking
outside to look in and sets the curiosity of the onlookers. It attracts the
on-lookers. But within the glass door, it is our world of fairytales, where we are in character and we have the responsibility of creating this fairytale for the 45 minutes for the audience. It was a magical experience and it was every student's individual job to make that dream or magic happen.
Collaborating with the students is a totally different experience. When I am sharing my experience of performing on stage with the students, I are also collaborating with them. Hence I become a partner or co-actor with them. We do blocking together and also I realise our presence and participation cause them to feel more energized and confident. The energy level is there because we are part of it as well. Our responsibility in the play is equally distributed. It is no longer a teacher or director-led play. According to Govan, Nicholson& Normington (2007), they stated that 'devised performance emphasises participatory working methods, it has often been regarded as an effective and flexible way to move from the individualism of autobiographical narratives to more collective forms of community participation and social identification.' (Pg 73). This social identification is very important to these students because they want to be recognised in society. Society has already placed a label on them base on their academic level. But then how can the society despise them because of their academic level? They may be excellent in other areas such as the aesthetics. Drama can help them identify their responsibilities and participation in community building. This devised performance, 'Nian', is a great way to build up their confidence because they have a stake or a part to play. They then begin to realise their importance in building and performing this play. They shift their thinking of 'unworthiness' to 'I am valuable in this "naming" of the world' (as what Freire mentioned, 1970, Pg 70) When they succeed, they feel a sense of achievement and success and begin to look back and appreciate their hard work. Therefore, they shift from their own personal life and invest their talents in community building.
During the performance I was also involved in doing makeup for the students. I am really privilege to be able to put makeup for them because it was an intimate time where I am so close up to their face. At first it was quite awkward to be so upfront in their face but I enjoyed it because I get to talk and joke to them without any barrier between us.
Bibliography
Collaborating with the students is a totally different experience. When I am sharing my experience of performing on stage with the students, I are also collaborating with them. Hence I become a partner or co-actor with them. We do blocking together and also I realise our presence and participation cause them to feel more energized and confident. The energy level is there because we are part of it as well. Our responsibility in the play is equally distributed. It is no longer a teacher or director-led play. According to Govan, Nicholson& Normington (2007), they stated that 'devised performance emphasises participatory working methods, it has often been regarded as an effective and flexible way to move from the individualism of autobiographical narratives to more collective forms of community participation and social identification.' (Pg 73). This social identification is very important to these students because they want to be recognised in society. Society has already placed a label on them base on their academic level. But then how can the society despise them because of their academic level? They may be excellent in other areas such as the aesthetics. Drama can help them identify their responsibilities and participation in community building. This devised performance, 'Nian', is a great way to build up their confidence because they have a stake or a part to play. They then begin to realise their importance in building and performing this play. They shift their thinking of 'unworthiness' to 'I am valuable in this "naming" of the world' (as what Freire mentioned, 1970, Pg 70) When they succeed, they feel a sense of achievement and success and begin to look back and appreciate their hard work. Therefore, they shift from their own personal life and invest their talents in community building.
Old Man (Vernon)
The Princess (Qian Qian)
Old Woman (Eng Nie)
During the performance I was also involved in doing makeup for the students. I am really privilege to be able to put makeup for them because it was an intimate time where I am so close up to their face. At first it was quite awkward to be so upfront in their face but I enjoyed it because I get to talk and joke to them without any barrier between us.
Collaboration between JYSS and us
Terms and conditions for us to set – Should Mr Chen be allowed into the room? Because it may interrupt the funness that we have in class. We may feel the space violated. When I was the cameraman for week 3, Bryan was feeling uneasy that I was taking photos of them. What more of a human being's presence there in the class? Mr Chen may want to come in at some point of time to check on the class. Probably one of the facilitators could contact and update Mr Chen on the status of the class after each session. Otherwise, the presence of a teacher may just cause a hindrance in their learning.
Their expectations of us, Vice versa. Do they expect us to do something for them? Probably, we are expected to do a very grand and ornamented performance such as having alot of props, having very nice music background etc. However, drama performance is not just about these elements. These elements are there to create effects and are not must-haves in a performance. I find that our 'Nian' were the most simple play out of the three but our play is as strong as the rest and very tight even though we did not use any fancy props or background music. We definitely do expect them to do things that they should do. For example, shuttering buses from school to Jurong West Regional Library or providing food, etc. One thing that we expected them to do but rather quite absentmindedly did not do was to book venues for us to rehearse. They are quite late in their booking of rooms and timing.
We need to set terms and conditions so that we can follow the guidelines without stepping onto each other's toes. We also know what to expect from each other through the conditions. However, what are the parameters to student's learning? Will these terms and conditions build a parameter to the students' learning? Probably we can set certain rules and conditions such as simple housekeeping rules. Some other matters we can always negotiate it out.
Their expectations of us, Vice versa. Do they expect us to do something for them? Probably, we are expected to do a very grand and ornamented performance such as having alot of props, having very nice music background etc. However, drama performance is not just about these elements. These elements are there to create effects and are not must-haves in a performance. I find that our 'Nian' were the most simple play out of the three but our play is as strong as the rest and very tight even though we did not use any fancy props or background music. We definitely do expect them to do things that they should do. For example, shuttering buses from school to Jurong West Regional Library or providing food, etc. One thing that we expected them to do but rather quite absentmindedly did not do was to book venues for us to rehearse. They are quite late in their booking of rooms and timing.
We need to set terms and conditions so that we can follow the guidelines without stepping onto each other's toes. We also know what to expect from each other through the conditions. However, what are the parameters to student's learning? Will these terms and conditions build a parameter to the students' learning? Probably we can set certain rules and conditions such as simple housekeeping rules. Some other matters we can always negotiate it out.
Bibliography
Freire, P. (1970) The Pedagogy of the Oppressed. England: Penguin group
Govan, E., Nicholson, H. & Normington, K.
(2007) Making a Performance: Devising
Histories and Contemporary Practices. London & New York: Routledge.
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