Wolf Makeup - Peter and the Wolf - Ms Trono

MY INSPIRATION

My Pinterest board for the makeup

WHAT I DID

I went around the outside of his face with a black liner on a brush making lines and stripes as I went. I also extended this under his cheek bones and added it onto his eyebrows.  Then I lined his eyes and extended that down to the inner corner.  Under that, I added another line and filled in the gap with white.  I then added the lines and stripes coming off of the lowest line.  After that, I filled in his nose and added the line down his cupid's bow.  I then finished it off by added white lines wherever I had the black lines.  For the actual performance, I will apply the liner closer to his hair line so it doesnt look as disconnected.

Peter Makeup - Peter and the Wolf - Ms Trono

MY INSPIRATION

My Pinterest board for the makeup

WHAT I DID

For Peter, I liked the idea of rosy cheeks and freckles.  I added a lot of blush onto the apples of his cheeks in a circle.  I then scattered some freckles over his cheeks.

Grandfather Makeup - Peter and the Wolf - Ms Trono

MY INSPIRATION

My Pinterest board for the makeup

WHAT I DID

I made Seth do different facial expressions to see where the natural contours and wrinkles would be on an old man.  I first made him make an angry face, causing two lines between his eyebrows.  I then made him raise his eyebrows to form the wrinkles on his forehead.  After that, I made him scrunch up his eyes to get the wrinkles around there.  I lastly made his smile to get the smile lines.  I blended these lines a bit and then added some concealer to his eyebrows and eyelashes.

Duck Makeup - Peter and the Wolf - Ms Trono

MY INSPIRATION

My Pinterest Board for the makeup

TIMELAPSE

...

...

WHAT I DID

First I applied a bronzer to her crease and dragged it outwards slightly.  I then took a darker brown and darkened the crease.  After that, I concealed her eyelids then applied a yellow, shimmery eyeshadow over the top.  The reason I concealed before was to brighten that yellow colour, however, the eyeshadow I have isn't very bright or pigmented so I will need to find one that is.  I then blended the yellow eyeshadow into the brown in the crease.  I then added a dark brown/black to her outer corner to give more dimension.  After that, I applied a shimmery, teal blue under her waterline and added a subtle blue highlighter to her inner corner and over the teal blue eyeshadow.  Finally, I added black eyeliner with a wing.  I think that the eyeliner would possibly be better without the wing as Georgia's eyes suit it more.  For the actual production, I would give her stage makeup as well.

 

Cat Makeup - Peter and the Wolf - Ms Trono

MY INSPIRATION

My Pinterest board for the makeup

 


As head of makeup, I have made a pinterest board for the looks I would like to do on each of the characters.  I even tried out the cat makeup on myself to see what would look good.

WHAT I DID

For the eyes, I did a brown, light smokey eye and dragged the darkest shade under my waterline and then pulled that down to create an animalistic look.  I put white highlighter in my inner corner and dragged that down till it reached the brown line.  I did winged eyeliner to add to that cat eye effect.  I believe contacts would be a good idea.
For the face, I added a lot of bronzer (which is quite hard to see in these photos) and also contoured my nose to be wider than normal.  I put a black liner on the tip of my nose and pulled that down my cupid's bow to my top lip.  I extended my top lip out and put 3 dots on each side of my cupid's bow.  I then finished off with adding 3 whiskers on each cheek.

 

Assignment 1 questions

Sound Designer/Technician 

• Who is this person most likely to be in contact with the most and why?
• The sound designer and technician is most likely to be in contact with the director the most.  This is because the director will share their vision with the sound designer and technician and they will then have to create what the director wants.  There will most likely be quite a few different drafts of these sounds and the sound designer and technician will work together with the director until it is all up to standards and portrays the message the director is trying to make come across.

Set and Props Designer

• Why must this person read the script in detail and do contextual research before beginning a job? In a larger scale production, can you tell me 3 different roles in the props team and what they do?
• The set and props designer must read the script in detail and do contextual research before beginning a job to make sure that they are prepared.  The script will usually give a large amount of clues to the set and props used within the play.  Doing other contextual research will help make it more factually correct and/or accurate.  For example, if a play is set in the Victorian times, the set and props designer would need to do a lot of research on the items used in Victorian times and what houses looked like, otherwise the audience wouldn't be immersed in the experience.  In a larger scale production, in the props team there will be a prop master, prop maker and prop storeman.  The prop master is responsible for purchasing, acquiring, manufacturing, properly placing and/or overseeing any props needed.  The prop maker physically makes each prop and they make a large variety of different props from jewellery to furniture.  They also may alter already existing props, such as distressing an object to make it look older or worn.  The prop storeman deals with organising the delivery, transport and storage of all hired and bought props for the production.  They must also organise the the props storage area in accordance with the production schedule. 

Director

• List 3 people that the director needs to collaborate with pre-production and what needs to be said.
• The director must schedule rehearsals with the actors to make their acting/tone/objective/movement completely portray what the director had envisioned.  The director will give the actors advice and different exercises to help them create the piece of work that the director wants to convey to the audience.  They will also collaborate with the sound designer and/or technician.  The director and sound designer/technician will discuss the sounds that the director wants throughout the play.  The sound designer/technician will then go off and make these sounds in creative and practical ways.  If the director doesn't like what the sound designer has come up with, the director will arrange another meeting and discuss the areas to improve on and give constructive criticism.  The director will also meet with the lighting designer/technician for the same reason, however, this time with lights instead of sound.

Things I Know To Be True

PLOT/THEMES

• Rosie comes back from her trip in Europe to see her family who live in Adelaide.  We are then introduced to her overprotective mother, loving father, business savvy sister, brother who wishes to transition and criminal brother.
• Rosie's sister, Pip, decides to move from Adelaide to Canada to take up a job for 12 months and has to leave her entire life behind.  We then find out she'd been having an affair.
• Rosie's brother, Mark, tells his family he wants to move to Sydney and transition to Mia.
• Rosie's other brother, Ben, has been stealing money and spending it on cocaine.
• Rosie's parents, Bob and Fran, try to help all the children with they problems.
• The children don't appreciate their parents' concerns and excessive worry which is why they needed to move from Adelaide in the first place.
• Rosie then decides to take up a creative writing course in Brisbane.
• Soon after she left, Fran with all her stress and fatigue, fell asleep on the expressway and flipped her car and died on impact.  
• The family then reunites in Adelaide to attend her funeral and support Bob.
• Relationship, family, marriage, heartbreak, sense of belonging, tragedy.

STRUCTURE

• Naturalistic and non-naturalistic - moments of dialogue as well as moments of direct audience address and physical theatre.
• Linear timeline - chronological, with ellipses - shown through physical theatre, direct audience address monologues, music
• Sort of cyclical structure - Rosie talking about the things she knows to be true before coming back to Adelaide and after her mother died.

SIGNIFICANT MOMENTS

• The first scene of Rosie explaining her trip to Europe - heartbreak she felt foreshadows the events in the play.
• Meeting the family - sets the base of the play, we get some exposition on the relationships of the characters.
• Pip explaining she wants to go to Canada - after she's left, Fran reading the letter Pip wrote admitting to having her affair - Fran lies to Bob about the letter - foreshadows lies that the family keep from each other.
• Mark telling his parents and Rosie about transitioning to become female - a lot of selfishness is shown from both parties - Mark wants the entire conversation to be about him coping and doesn't think about it being hard for his family to deal with all this information at once.  
• Finding out Ben is a criminal - see a scary and threatening side to Ben - "I want mum" shows he relies on his mother for help but almost abuses it 
• Fran dying - so tired from trying to help her entire family and just as things appear to be getting better, she falls asleep on the expressway and dies.  

ACTING / MOVEMENT

• First scene physical theatre - shows relationships between family members and portrays the way Rosie was feeling without her needing to say it.
• Table when Rosie gets home - transitions from garden to kitchen in a smooth way.
• Physical theatre - showing the passing of time.
• Fran and Bob dancing - the proxemics of how close they are emphasises the love they have for each other (even if it wasn't always there).
• Monologues - providing exposition on the play and also showing the situation from a different point of view.

TECHNICAL DESIGN

• Different lighting - sometimes a low light with a spotlight (usually during monologues) - sometimes a brighter light covering the entire stage (when the family were in the kitchen in the beginning) - sometimes a blue light (usually during times with physical theatre).
• The garden - signified the passing of time (through the seasons with the rose bushes) - at the end, when Bob had lost everything (his wife dying and the children all leaving him) ripping out the rose bushes.
• Bridge - only used once for Mark's monologue - water signifying rain drops coming down on him.