Marketing
Draft 3
Don’t miss out this Christmas!
Come see our most amazing Christmas show yet. PINOCCHIO is this years Chickenshed production. Pinocchio is running from December 9th through till January 16th at Chickenshed theatre Southgate.
A fun filled family show, packed with signing puppets, a mechanical donkey, hoop spinning blue fairies, a giant bouncing grasshopper, cheeky robbers plus lots more.
Pinocchio has something for every one this Christmas. An action packed family show that will keep the whole family entertained. Follow an acrobatic Pinocchio on his journey from a naughty puppet to real boy. Meet the strange and magical characters he bumps into along the way, and whiteness the mischief and adventures Pinocchio gets himself into.
Celebrate this Christmas at Chickenshed, a unique and pioneering inclusive company. In this years performance of Pinocchio Chickenshed has incorporated BSL, for our deaf audience.
Captioned performance (for death or hard of hearing people) and audio-described and a touch tour (for blind or partially sighted people) are also available. Please contact our box office for further details.
Facilities include disabled access and toilets, a bar serving food and drinks before, during and after the show.
Standard performances
Stalls: £18 (£16 concessions), gallery: £12 (no concessions)
Peak performances Fri 18th Dec - sat 2nd Jan
Stalls: £19.50 (£17.50 concessions), gallery: £13.50 (no concessions)
School performances (school groups only): All tickets £10
Public performances take place at 3:30pm and 7:30pm
School matinee performances take place at 12pm or 1pm
Chickenshed theatre, Chase Side, Southgate, London, N14 4PE
Box office: 0208 292 9222
Email bookings: Chickenshed.org.uk
Text phone: 18001 0208 292
Tuesday, 5 January 2010
Monday, 4 January 2010
Marketing
Draft 2
Don’t miss out this Christmas!
Come see our most amazing Christmas show yet. PINOCCHIO is this years Chickenshed production. Pinocchio is running from December 9th through till January 16th at Chickenshed theatre Southgate.
A fun filled family show, packed with signing puppets, a mechanical donkey, hop spinning blue fairies, a giant bouncing grasshopper, cheeky robbers plus lots more.
Pinocchio has something for every one this Christmas. An action packed family show that will keep the whole family entertained. Follow an acrobatic Pinocchio on his journey from a naughty puppet to real boy. Meet the strange and magical characters he bumps into along the way, and see the mischief and adventures Pinocchio gets himself into.
Celebrate this Christmas at Chickenshed a unique and pioneering inclusive company. In this years performance of Pinocchio Chickenshed has incorporated BSL, for our deaf audience.
Captioned performance (for death or hard of hearing people) and audio-described and a touch tour (for blind or partially sighted people) are also available please contact our box office for further details.
Facilities include disabled access and toilets, a bar serving food and drinks before during and after the show.
Standard performances
Stalls: £18 (£16 concessions), gallery: £12 (no concessions)
Peak performances Fri 18th Dec - sat 2nd Jan
Stalls: £19.50 (£17.50 concessions), gallery: £13.50 (no concessions)
School performances (school groups only): All tickets £10
Public performance take place at 3:30pm and 7:30pm
School matinee performances take place at 12pm or 1pm
Chickenshed theatre, Chase Side, Southgate, London, N14 4PE
Box office: 0208 292 9222
Email bookings: Chickenshed.org.uk
Text phone: 18001 0208 292
Draft 2
Don’t miss out this Christmas!
Come see our most amazing Christmas show yet. PINOCCHIO is this years Chickenshed production. Pinocchio is running from December 9th through till January 16th at Chickenshed theatre Southgate.
A fun filled family show, packed with signing puppets, a mechanical donkey, hop spinning blue fairies, a giant bouncing grasshopper, cheeky robbers plus lots more.
Pinocchio has something for every one this Christmas. An action packed family show that will keep the whole family entertained. Follow an acrobatic Pinocchio on his journey from a naughty puppet to real boy. Meet the strange and magical characters he bumps into along the way, and see the mischief and adventures Pinocchio gets himself into.
Celebrate this Christmas at Chickenshed a unique and pioneering inclusive company. In this years performance of Pinocchio Chickenshed has incorporated BSL, for our deaf audience.
Captioned performance (for death or hard of hearing people) and audio-described and a touch tour (for blind or partially sighted people) are also available please contact our box office for further details.
Facilities include disabled access and toilets, a bar serving food and drinks before during and after the show.
Standard performances
Stalls: £18 (£16 concessions), gallery: £12 (no concessions)
Peak performances Fri 18th Dec - sat 2nd Jan
Stalls: £19.50 (£17.50 concessions), gallery: £13.50 (no concessions)
School performances (school groups only): All tickets £10
Public performance take place at 3:30pm and 7:30pm
School matinee performances take place at 12pm or 1pm
Chickenshed theatre, Chase Side, Southgate, London, N14 4PE
Box office: 0208 292 9222
Email bookings: Chickenshed.org.uk
Text phone: 18001 0208 292
Academic
Draft 2
A recent uproar was sparked when a comment was publicly made by a member of the British National Party (BNP) on the BNP website. A debate struck on the BNP website after serious allegations where made towards ChickenShed theatre, about them handing out visas to foreign students without going through proper procedures. Despite this being false information the BNP got hold of this, which initiated a heated debate on the BNP websites chat room. Leading one individual into a rant about immigration, and also commenting on ChickenShed Theatre company saying “ And ChickenShed Theatre are running a black Pinocchio for Christmas!” Insinuating that having a black actor play the part of Pinocchio in this years Christmas show, to be some sort of joke. This comment left me asking the question is this just prejudice racism? Or does the colour of Pinocchio’s skin affect the shows performance or the audiences interpretation of the story?
Putting my own views and thoughts on the matter to one side, I tried to see why people would think any different to my own views. Whilst researching racism in the theatre, I came across a very interesting article written by Ruth Rendell a reporter for the BBC. In the article it states that 88% of black performers in the England are subjected to some form of racist abuse. The one conclusion that I came to was people don’t like to see something they already know interpreted differently. For instance certain people don’t like seeing afro-Caribbean actors playing characters traditionally intended for white actors. I believe that in some peoples cases, that they have seen a version of Pinocchio, for example Walt Disney’s and believe that every Pinocchio should be interpreted exactly the same.
However my opinion on the matter, is that having a black Pinocchio instead of a white Pinocchio does not affect the performance in any way. The story of Pinocchio is however an Italian story, does this mean that every version of Pinocchio should be played by an Italian actor? In my professional opinion this is a ludicrous way in thinking. If we do not alter and interpret things differently to others, how will we ever create unique and enervative theatre. I believe the performance quality is due to the actor and not the colour of the actors skin. ChickenShed interpretation of the story is different to Walt Disney’s as well as the colour of the puppet, yet why did this not spark a debate? Leading me to the conclusion, in my opinion, that the issue of Pinocchio being played by a black actor instead of the traditional white actor, was a truly racist and prejudice way in thinking.
ChickenShed Theatre are known for their work in inclusion. As well as integrating peoples different abilities, this also goes for integrating race and religion. No one is excluded from performing at ChickenShed Theatre, especially not for their colour of their skin. In conclusion I finish off with the vision and values of ChickenShed, in hope that people with these prejudice views will one day broaden their way in thinking:
“Our Inclusive creative process values all our members as equals. It’s the way we run our theatre company, our youth workshops, our outreach programs and our education programmes. And one day that will be the way the world thinks. That’s our vision.” ChickenShed.
Draft 2
A recent uproar was sparked when a comment was publicly made by a member of the British National Party (BNP) on the BNP website. A debate struck on the BNP website after serious allegations where made towards ChickenShed theatre, about them handing out visas to foreign students without going through proper procedures. Despite this being false information the BNP got hold of this, which initiated a heated debate on the BNP websites chat room. Leading one individual into a rant about immigration, and also commenting on ChickenShed Theatre company saying “ And ChickenShed Theatre are running a black Pinocchio for Christmas!” Insinuating that having a black actor play the part of Pinocchio in this years Christmas show, to be some sort of joke. This comment left me asking the question is this just prejudice racism? Or does the colour of Pinocchio’s skin affect the shows performance or the audiences interpretation of the story?
Putting my own views and thoughts on the matter to one side, I tried to see why people would think any different to my own views. Whilst researching racism in the theatre, I came across a very interesting article written by Ruth Rendell a reporter for the BBC. In the article it states that 88% of black performers in the England are subjected to some form of racist abuse. The one conclusion that I came to was people don’t like to see something they already know interpreted differently. For instance certain people don’t like seeing afro-Caribbean actors playing characters traditionally intended for white actors. I believe that in some peoples cases, that they have seen a version of Pinocchio, for example Walt Disney’s and believe that every Pinocchio should be interpreted exactly the same.
However my opinion on the matter, is that having a black Pinocchio instead of a white Pinocchio does not affect the performance in any way. The story of Pinocchio is however an Italian story, does this mean that every version of Pinocchio should be played by an Italian actor? In my professional opinion this is a ludicrous way in thinking. If we do not alter and interpret things differently to others, how will we ever create unique and enervative theatre. I believe the performance quality is due to the actor and not the colour of the actors skin. ChickenShed interpretation of the story is different to Walt Disney’s as well as the colour of the puppet, yet why did this not spark a debate? Leading me to the conclusion, in my opinion, that the issue of Pinocchio being played by a black actor instead of the traditional white actor, was a truly racist and prejudice way in thinking.
ChickenShed Theatre are known for their work in inclusion. As well as integrating peoples different abilities, this also goes for integrating race and religion. No one is excluded from performing at ChickenShed Theatre, especially not for their colour of their skin. In conclusion I finish off with the vision and values of ChickenShed, in hope that people with these prejudice views will one day broaden their way in thinking:
“Our Inclusive creative process values all our members as equals. It’s the way we run our theatre company, our youth workshops, our outreach programs and our education programmes. And one day that will be the way the world thinks. That’s our vision.” ChickenShed.
Wednesday, 30 December 2009
A recent uproar was sparked when a comment was publicly made by a member of the British National Party, about Chickenshed theatre company using a black actor to play the character Pinocchio in this years Christmas production. This comment left me asking the question is this just prejudice racism? Or does the colour of Pinocchio’s skin affect the show s performance?
Putting my own views and thoughts on the matter to one side, I tried to see why people would think any different to my own views. The one conclusion that I came to was people don’t like to see something they already know interpreted differently. I believe in some peoples cases, that they have seen a version of Pinocchio, for example Walt Disney’s and believe that every Pinocchio should be interpreted exactly the same.
However my opinion on the matter, is that having a black Pinocchio instead of a white Pinocchio does not affect the performance in any way. I believe the performance quality is due to the actor and not the colour of the actors skin. Chickenshed interpretation of the story is different to Walt Disney’s as well as the colour of the puppet, yet why did this not spark a debate? Leading me to the conclusion, in my opinion, that the issue of Pinocchio being played by a black actor instead of the traditional white actor was a truly racist and prejudice way in thinking.
Putting my own views and thoughts on the matter to one side, I tried to see why people would think any different to my own views. The one conclusion that I came to was people don’t like to see something they already know interpreted differently. I believe in some peoples cases, that they have seen a version of Pinocchio, for example Walt Disney’s and believe that every Pinocchio should be interpreted exactly the same.
However my opinion on the matter, is that having a black Pinocchio instead of a white Pinocchio does not affect the performance in any way. I believe the performance quality is due to the actor and not the colour of the actors skin. Chickenshed interpretation of the story is different to Walt Disney’s as well as the colour of the puppet, yet why did this not spark a debate? Leading me to the conclusion, in my opinion, that the issue of Pinocchio being played by a black actor instead of the traditional white actor was a truly racist and prejudice way in thinking.
Its Sunday the sixth of December seven twenty five pm, palms are sweating, hearts are racing. It was five minutes before the dress run of our Christmas show Pinocchio. Back stage was manic, people where pacing with nerves, children running round with excitement, teachers getting stressed and trying to calm down over excited children and teenagers.
Finally we hear the all so familiar bing bing bong of the over head announcer, we get the call we had all been waiting for, beginners. A sudden silence sweeps the room. Interrupted by the voice informing us to make sure we have all our group together and to check that we all have the correct costume on. A burst of energy renters the room as people rush to find their group. Once everyone is assembled in their groups with correct costume, which for our group is rolled up skinny jeans, with white socks, tucked in white polo shirt, brown waste coat and a neck chief. Our costume and style of our character group based on the eighties pop group Madness. Once costumes have been checked, we start to head down to our starting positions back stage. Waiting quietly backstage we anxiously wait for our queue from the band, so we can enter and perform what we had been rehearsing for a month prier the show. All standing alert we hear our queue. We burst onto stage ready to perform our part of the story for the Christmas show Pinocchio.
Finally we hear the all so familiar bing bing bong of the over head announcer, we get the call we had all been waiting for, beginners. A sudden silence sweeps the room. Interrupted by the voice informing us to make sure we have all our group together and to check that we all have the correct costume on. A burst of energy renters the room as people rush to find their group. Once everyone is assembled in their groups with correct costume, which for our group is rolled up skinny jeans, with white socks, tucked in white polo shirt, brown waste coat and a neck chief. Our costume and style of our character group based on the eighties pop group Madness. Once costumes have been checked, we start to head down to our starting positions back stage. Waiting quietly backstage we anxiously wait for our queue from the band, so we can enter and perform what we had been rehearsing for a month prier the show. All standing alert we hear our queue. We burst onto stage ready to perform our part of the story for the Christmas show Pinocchio.
Don’t miss out this Christmas!
Come see our most amazing Christmas show yet. PINOCCHIO is this years Chickenshed production. Pinocchio is running from December 9th through till January 16th at Chickenshed theatre Southgate.
A fun filled family show, packed with signing puppets, a mechanical donkey, hop spinning blue fairies, a giant bouncing grasshopper, cheeky robbers plus lots more.
Pinocchio has something for every one this Christmas. An action packed family show that will keep the whole family entertained. Follow an acrobatic Pinocchio on his journey from a naughty puppet to real boy. Meet the strange and magical characters he bumps into along the way, and see the mischief and adventures Pinocchio gets himself into.
Celebrate this Christmas at Chickenshed a unique and pioneering inclusive company. In this years performance of Pinocchio Chickenshed has incorporated BSL, for our deaf audience. Captioned performance will also be available on selected dates call our box office for further details.
Facilities include disabled access and toilets, a bar serving food and drinks before during and after the show.
Chickenshed theatre, Chase Side, Southgate, London, N14 4PE
Box office: 0208 292 9222
Email bookings: Chickenshed.org.uk
Text phone: 18001 0208 292
Come see our most amazing Christmas show yet. PINOCCHIO is this years Chickenshed production. Pinocchio is running from December 9th through till January 16th at Chickenshed theatre Southgate.
A fun filled family show, packed with signing puppets, a mechanical donkey, hop spinning blue fairies, a giant bouncing grasshopper, cheeky robbers plus lots more.
Pinocchio has something for every one this Christmas. An action packed family show that will keep the whole family entertained. Follow an acrobatic Pinocchio on his journey from a naughty puppet to real boy. Meet the strange and magical characters he bumps into along the way, and see the mischief and adventures Pinocchio gets himself into.
Celebrate this Christmas at Chickenshed a unique and pioneering inclusive company. In this years performance of Pinocchio Chickenshed has incorporated BSL, for our deaf audience. Captioned performance will also be available on selected dates call our box office for further details.
Facilities include disabled access and toilets, a bar serving food and drinks before during and after the show.
Chickenshed theatre, Chase Side, Southgate, London, N14 4PE
Box office: 0208 292 9222
Email bookings: Chickenshed.org.uk
Text phone: 18001 0208 292
Tuesday, 3 November 2009
Description of reflective cycle
Concrete experience
My concrete experience was last year at university. I was given the task to be responsible for two groups of six, during the Christmas performances and rehearsal period. These processes would last the duration of approximately four months. The two groups consisted of a range of ages (from 6 yrs -22 yrs) and abilities. Throughout the rehearsal period, my roll was to be in charge of teaching, (one group at a time) the set chorography, help stage the groups, and to help create interesting and dynamic shapes with the group. I would correct the group on miss positioning of their bodies if it was out of character, and give one on one help to any person struggling with the chorography. I would also be helping the groups to learn their lines, deliver their lines clearly and make sure they where in connection to their character they where playing. I was to help those given sign language for the performances, by making sure their hand shapes where correct and strong and making sure their lip movement and facial gestures where clear, which are all key factors so that the deaf audience can understand. Besides teaching and staging the groups I would also be performing along side them in the shows.
Reflective observation
During the rehearsal period, once I had taught the set chorography, I took the time to sit out of the dance and scene my groups where performing, to examine the group. Whilst observing the groups I would watch every individual and make notes on what they where doing good, what they where struggling with and what could be improved on. When I was joining in with the group, although certain members of the group where relying on what I was doing to remember their own part, I was unable to know what the groups needed improving on to produce a better performance. Having the time to observe the group was really important as I had the chance to see what was working with the groups and what was not. Also with me not rehearsing all the time with the groups, the individuals had to rely on their own memory, not mine. Which helped strengthen the group as they eventually grew confident with their part, instead of relying on me. As I had two separate groups learning and performing the same material it was important for me to observe and compare both the groups. This was to see whether it was working with both groups or just the one, and if so to establish why this was.
Abstract conceptualisation
After observing both my groups, I realised the two groups in comparison where completely different. This was because to the diversity of the individuals in the groups. I realised that some of the individuals responded to the direction I was giving differently to others. I realised that the pace and direction I was using, was manageable for the majority of the group, but quickly realised some individuals where getting left behind. I also discovered that the energy in one group was different to the other. I found that one of my groups energy came across as focused and seemed to follow the direction well, on the whole a mature group, but at the same time a Phlegmatic group. My other group however was a lot more high energy, but found it hard to maintain focus and challenging to control their energy into their performance.
Active experimentation
After analysing where my groups needed extra help or more guidance, I thought of how I would accomplish this task. I understood that the only way that the groups would reach their full potential was for me to recognize where they where going wrong and how I would best manage to direct the two very different groups. I decided to deliver my direction and exercises to a pace that was suitable specifically for each group. For example with the more lethargic group I realised that it was more of a confidence issue. I got them to open up to each other and made them feel comfortable, encouraging them and giving them confidence by praising them and picking up on small vocal, gestures or movements, but then making sure they made it even bigger as a whole group.
With the less unfocused group I came to the conclusion that it was more the case that a few individuals where struggling to understand and keep up in result getting lost and losing concentration. The way I over come this was to turn the movements they where doing into a story. Making sure they understood the purpose of the movements, enabling a more affective way for them to remember the actions. I have learnt that you have to be open as a teacher and willing to adapt your style or approach of teaching to different individuals and groups, to achieve full potential.
Concrete experience
My concrete experience was last year at university. I was given the task to be responsible for two groups of six, during the Christmas performances and rehearsal period. These processes would last the duration of approximately four months. The two groups consisted of a range of ages (from 6 yrs -22 yrs) and abilities. Throughout the rehearsal period, my roll was to be in charge of teaching, (one group at a time) the set chorography, help stage the groups, and to help create interesting and dynamic shapes with the group. I would correct the group on miss positioning of their bodies if it was out of character, and give one on one help to any person struggling with the chorography. I would also be helping the groups to learn their lines, deliver their lines clearly and make sure they where in connection to their character they where playing. I was to help those given sign language for the performances, by making sure their hand shapes where correct and strong and making sure their lip movement and facial gestures where clear, which are all key factors so that the deaf audience can understand. Besides teaching and staging the groups I would also be performing along side them in the shows.
Reflective observation
During the rehearsal period, once I had taught the set chorography, I took the time to sit out of the dance and scene my groups where performing, to examine the group. Whilst observing the groups I would watch every individual and make notes on what they where doing good, what they where struggling with and what could be improved on. When I was joining in with the group, although certain members of the group where relying on what I was doing to remember their own part, I was unable to know what the groups needed improving on to produce a better performance. Having the time to observe the group was really important as I had the chance to see what was working with the groups and what was not. Also with me not rehearsing all the time with the groups, the individuals had to rely on their own memory, not mine. Which helped strengthen the group as they eventually grew confident with their part, instead of relying on me. As I had two separate groups learning and performing the same material it was important for me to observe and compare both the groups. This was to see whether it was working with both groups or just the one, and if so to establish why this was.
Abstract conceptualisation
After observing both my groups, I realised the two groups in comparison where completely different. This was because to the diversity of the individuals in the groups. I realised that some of the individuals responded to the direction I was giving differently to others. I realised that the pace and direction I was using, was manageable for the majority of the group, but quickly realised some individuals where getting left behind. I also discovered that the energy in one group was different to the other. I found that one of my groups energy came across as focused and seemed to follow the direction well, on the whole a mature group, but at the same time a Phlegmatic group. My other group however was a lot more high energy, but found it hard to maintain focus and challenging to control their energy into their performance.
Active experimentation
After analysing where my groups needed extra help or more guidance, I thought of how I would accomplish this task. I understood that the only way that the groups would reach their full potential was for me to recognize where they where going wrong and how I would best manage to direct the two very different groups. I decided to deliver my direction and exercises to a pace that was suitable specifically for each group. For example with the more lethargic group I realised that it was more of a confidence issue. I got them to open up to each other and made them feel comfortable, encouraging them and giving them confidence by praising them and picking up on small vocal, gestures or movements, but then making sure they made it even bigger as a whole group.
With the less unfocused group I came to the conclusion that it was more the case that a few individuals where struggling to understand and keep up in result getting lost and losing concentration. The way I over come this was to turn the movements they where doing into a story. Making sure they understood the purpose of the movements, enabling a more affective way for them to remember the actions. I have learnt that you have to be open as a teacher and willing to adapt your style or approach of teaching to different individuals and groups, to achieve full potential.
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