I AM SO SORRY!!! Okay, cut the personal comments :x
ZANDILE
Character analysis:
I AM A CHILD.
Age: 12 (basically young)
Background information: Lives with GRANDMOTHER in Durban.
Character analysis:
I AM A CHILD.
Age: 12 (basically young)
Background information: Lives with GRANDMOTHER in Durban.
Durban:
- third most populous city in South Africa
- largest city in KwaZulu-Natal and is famous as the busiest port in Africa.
- also a major centre of tourism due to the city's warm subtropical climate and beaches.
- 1970s, Durban provided ample tourist attractions, particularly for people on holiday from Johannesburg.
- mild subtropical climate with warm wet summers and mild moist to dry winters, which are frost-free.
- 63.04 percent of Durban residents speak Zulu at home, 29.96 percent speak English (roughly representing the Indian, Coloured and White populations), 3.43 percent speak Xhosa, 1.44 percent speak Afrikaans, 0.7 percent speak Sotho, 0.2 percent speak Ndebele, 0.1 percent speaks Northern Sotho, and 0.93 percent of the population speaks a non-official language at home
- 10.0 percent of residents aged 20 and over have received no schooling, 13.3 percent have had some primary school, 5.7 percent have completed only primary school, 34.6 percent have had some high school education, 26.8 percent have finished only high school, and 9.6 percent have an education higher than the high school level.
Captured by natural mother, LULAMA, and expected to conform to the ways of life in the harsh, rural Transkei homeland- third most populous city in South Africa
- largest city in KwaZulu-Natal and is famous as the busiest port in Africa.
- also a major centre of tourism due to the city's warm subtropical climate and beaches.
- 1970s, Durban provided ample tourist attractions, particularly for people on holiday from Johannesburg.
- mild subtropical climate with warm wet summers and mild moist to dry winters, which are frost-free.
- 63.04 percent of Durban residents speak Zulu at home, 29.96 percent speak English (roughly representing the Indian, Coloured and White populations), 3.43 percent speak Xhosa, 1.44 percent speak Afrikaans, 0.7 percent speak Sotho, 0.2 percent speak Ndebele, 0.1 percent speaks Northern Sotho, and 0.93 percent of the population speaks a non-official language at home
- 10.0 percent of residents aged 20 and over have received no schooling, 13.3 percent have had some primary school, 5.7 percent have completed only primary school, 34.6 percent have had some high school education, 26.8 percent have finished only high school, and 9.6 percent have an education higher than the high school level.
Transkei:
- is a region situated in the Eastern Cape of South Africa.
- The main language is isiXhosa , which has distinctive click consonants.
- has not been invaded by large hotel chains or any of the Westernized luxuries found elsewhere in South Africa and is especially attractive to tourists who seek an "African experience".
- For much of the 20th century, many black male farmers in the Transkei were forced by punitive taxes levied only on Africans, known as poll taxes, to head north by train to work under contracts underground in Johannesburg's gold mines.
- Migrant labour has continued to shape the Transkei ever since.
- is a region situated in the Eastern Cape of South Africa.
- The main language is isiXhosa , which has distinctive click consonants.
- has not been invaded by large hotel chains or any of the Westernized luxuries found elsewhere in South Africa and is especially attractive to tourists who seek an "African experience".
- For much of the 20th century, many black male farmers in the Transkei were forced by punitive taxes levied only on Africans, known as poll taxes, to head north by train to work under contracts underground in Johannesburg's gold mines.
- Migrant labour has continued to shape the Transkei ever since.
Lifetime objective: "I want to get back to Durban to find GRANDMOTHER, GOGO!"
"I want to be a teacher!"
Personality:
Bright child full of dreams and hopes!
Curious about the world, full of questions (In script, she said lots of "but"s)
Stubborn; wants things to go according to her will
Determined, strong character (she finally got to her grandmother in the end)
Optimistic (her child innocence allowed her to think positively!)
Lively (kid element)
Carefree (she is still young)
Impulsive (acts and responds immediately; the first feeling she gets)
Real [is there a better word? -.-] (doesn't hide emotions; kid element!)
Excitable (kid element)
Restless (cannot just sit and listen)
Active (kid element)
Responsive (responds to everything around her)
Creative Process Write-up
1. DV/Concept:
What is the purpose of my scene?
-Show audience in Singapore how fortunate they are to live in this century and in this country
(target audience: youths in S'pore; 12 & above)
-Show how 3rd world countries operated in terms of marriage, education, traditions and how they faced poverty
= Compared against S'pore
How do I want my character to be presented to the audience to show this purpose?
- My stubbornness and determination must be shown clearly.
- Zandile must be strong in believing that she'll be a teacher (her dreams)
= Can see how badly she got put down by Lulama repeatedly (no support from her)
= Show that Zandile has no freedom to even dream; her life is totally controlled by her mum
What will the audience feel or think of my character?
-Evoke their sympathy for Zandile as Zandile has no support from Lulama
-> They'll feel that Zandile's just a child and need not to be put down so harshly
-They'll think that a child ought to have dreams so Zandile's not wrong in dreaming about being a teacher!
-Admire the pure emotions from Zandile and her strong determination
2. Performance theory/ History of tradition
To which genre or period does my performance belong?
1960s
(Needs to find out more about e genre!!!)
How is it different/similar to contemporary realism?
I think it's SIMILAR right? We've yet to really discussed about this! My views...
As it is set in 1960s, it's quite close to modern context. The ideas that modern plays are trying to present are quite similar to ours. Most are about viewing the world in another perspective, getting values about life and the world from the play etc. Plays nowadays are about learning something from it, not just pure entertainment (I guess so!) So I think we're similar to that in that way... Discuss more on this!!!
Which acting techniques or theories am I using to build my character?
Stanislavski. (Will elaborate further soon)
Have I used relevant quotes, ideas, visuals, etc. to help me build my character?
Visuals. (Will figure out more about this...)
3. Evaluation of Creative Process
Did I need to train to meet specific character needs or styles of acting?
- Observe and imply into character.
- Zandile = Kid. Therefore, I observe the kids around me in church. The way the respond, talk, walk etc.
Where were the turning points in my creative process?
(Discussion in process.......)
What insights made my performance take a different route or evolve into something better?
(Discussion in process.......)
Can I explain every single creative choice, from acting to costume to setting?
Acting: Looking at the character, I did what fits best. Some actions are according to script given.
Costume: Based on research done on their clothes in Africa~
Setting: Research on type of grass.
Own imagination of the space according to limitations of Bbox too.
References from the play about the field.
"I want to be a teacher!"
Personality:
Bright child full of dreams and hopes!
Curious about the world, full of questions (In script, she said lots of "but"s)
Stubborn; wants things to go according to her will
Determined, strong character (she finally got to her grandmother in the end)
Optimistic (her child innocence allowed her to think positively!)
Lively (kid element)
Carefree (she is still young)
Impulsive (acts and responds immediately; the first feeling she gets)
Real [is there a better word? -.-] (doesn't hide emotions; kid element!)
Excitable (kid element)
Restless (cannot just sit and listen)
Active (kid element)
Responsive (responds to everything around her)
Creative Process Write-up
1. DV/Concept:
What is the purpose of my scene?
-Show audience in Singapore how fortunate they are to live in this century and in this country
(target audience: youths in S'pore; 12 & above)
-Show how 3rd world countries operated in terms of marriage, education, traditions and how they faced poverty
= Compared against S'pore
How do I want my character to be presented to the audience to show this purpose?
- My stubbornness and determination must be shown clearly.
- Zandile must be strong in believing that she'll be a teacher (her dreams)
= Can see how badly she got put down by Lulama repeatedly (no support from her)
= Show that Zandile has no freedom to even dream; her life is totally controlled by her mum
What will the audience feel or think of my character?
-Evoke their sympathy for Zandile as Zandile has no support from Lulama
-> They'll feel that Zandile's just a child and need not to be put down so harshly
-They'll think that a child ought to have dreams so Zandile's not wrong in dreaming about being a teacher!
-Admire the pure emotions from Zandile and her strong determination
2. Performance theory/ History of tradition
To which genre or period does my performance belong?
1960s
(Needs to find out more about e genre!!!)
How is it different/similar to contemporary realism?
I think it's SIMILAR right? We've yet to really discussed about this! My views...
As it is set in 1960s, it's quite close to modern context. The ideas that modern plays are trying to present are quite similar to ours. Most are about viewing the world in another perspective, getting values about life and the world from the play etc. Plays nowadays are about learning something from it, not just pure entertainment (I guess so!) So I think we're similar to that in that way... Discuss more on this!!!
Which acting techniques or theories am I using to build my character?
Stanislavski. (Will elaborate further soon)
Have I used relevant quotes, ideas, visuals, etc. to help me build my character?
Visuals. (Will figure out more about this...)
3. Evaluation of Creative Process
Did I need to train to meet specific character needs or styles of acting?
- Observe and imply into character.
- Zandile = Kid. Therefore, I observe the kids around me in church. The way the respond, talk, walk etc.
Where were the turning points in my creative process?
(Discussion in process.......)
What insights made my performance take a different route or evolve into something better?
(Discussion in process.......)
Can I explain every single creative choice, from acting to costume to setting?
Acting: Looking at the character, I did what fits best. Some actions are according to script given.
Costume: Based on research done on their clothes in Africa~
Setting: Research on type of grass.
Own imagination of the space according to limitations of Bbox too.
References from the play about the field.
Today was kinda productive! :D I think we need to rediscuss points in part 2. and 3.!!! Deadline coming soon.............................
Let's jiayou for it! I'll try my best okay okay okay! Though you're more hardworking than me T_T!
Rachelboo :D
Let's jiayou for it! I'll try my best okay okay okay! Though you're more hardworking than me T_T!
Rachelboo :D
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