COLOUR CODES

CONTEXT/RESEARCH - BLUE
PROBLEM SOLVING/PRACTICAL SKILL - GREEN
PLANNING AND PRODUCTION - YELLOW
EVALUATION & REFLECTION - RED

10.6. Run of the 2nd half

Scene 7

Scene 8

Scene 9

Scene 10

Scene 11

Scene 13

Scene 14

And here is the feedback we got from Siou:

My feedback and how I am going to fix it:

• Bodyguard. I am a bodyguard in scenes 7, 10 and 11, and especially in scenes 10 and 11, there are many of us bodyguards in the scene. Siou suggested whether I should change my bodyguard character a little bit, to separate me from the more dominant ones. She suggested to make him more jittery, which is a good idea, except I feel like I already have two characters that have a similar restlessness about them, Ui and Flake. Ui, especially in the beginning is more nervous and restless because of it, where as Flake has very fast paced direct movements. I pointed this out to Siou, but I do still think she is right about separating the types of bodyguards to bring on some variety. Perhaps I could develop my character as Flake to become less jittery and even more direct or make him more relaxed so that then I can bring this new characteristic to my bodyguard character
• In scene 14 I went to sit back down too early. I realized this in the scene, but didn't feel that it would work for me to get back up again, so I didn't do so to fix it. This was really silly of me, since I should have looked up a part of the long speech when I go back to seat, but also the different ways I react to them. I have since then looked at the speech and decided that at the line " Deceive the Clarks and slay Dullfeet-" I will start walking away from the chair and on the line " The body of Ernesto Roma may be hid in earth" I will start walking back, reaching the chair at the line "Mark my words, Arturo"
•  I and everyone need to look at scene 7 and know the points when we need to clap exactly

Over all, I felt this run went okay. I personally need to look at my lines again, because the song is still a bit unfamiliar for me and I messed up in scene 13 a couple of times. I want us to do the tech first thing on Monday when we get to Pelham, because there is so much of them that make the show for us and enhance moments, but also most of the transitions are hard to run without them, so we need to get the tech done so after that we can just run the show over and over again to make it tight and smooth. 

9.6. Transitions

TARGETS:

• 3-4 Transition
• 5-6 transition

Today's focus was to finish working on our transitions, so that the next time we run the show, we can really try them all out and see if they work together with the show, creating a united and smooth show. We only had a couple of the transitions left, so we decided to also run some of the scenes around them, to make sure they fit the mood of the previous or next scene.

For the transition between scenes 3 and 4, we decided to go with the same theme of the transition before it, since both of the scenes are involving in the world of money and business. We would have the same music as well being the 'Gold diggers 1933 - We're in the money'. Instead of having the newspaper people get the remaining blocks off of the stage, we will have Sav, Robin and Liam, the last three people on stage, to go and get the blocks in a rushes, slapstick kind of style. Robin and Liam will run to stage, running past each other and blocks only to notice the blocks after Sav has taken one of them in a showgirl style.  This is a very good quick transition, since we do not always need to add entire dances in between scene. A good quick transition keeps the story going forward and not distract the audience, yet keeping them energetic and alive.

   We also did scene 3 again to freshen our mid about it, but also to try out the transitions before and after it. We noticed that the transition going into scene 3 didn't work entirely, since we did have a way to get the blocks on stage, but me , Chloe and Harry remain at the end of the thrust. Since the transition song is about money, and scene 2 ends with Dogsborough making a deal with the Cauliflower trust about buying the docks, we thought it would be a funny way of showing Dogsborougs greediness by having me and Chloe whip out fake money out of our pockets and fan around the money in front of his face, leading him off the stage. This way we get of the stage in a  natural way and I can them simply go back on with my newspaper and change of costume to become part of the chorus. 
   During the scene, Siou pointed out to us that it isn't very clear yet that we are at the bookie's office. We decided to add in a radio noise of a race of the time, which also gave us background characters something to do, listening to the race and reacting. Using Yo Ha Kuy learned from Yoshi Oida, we can really get the progression of the race believable and have our characters react accordingly. I am going to start by being overly confident, probably telling others how much I've bet on my horse and how I am going to be rich by the end of this, move on to higher tension, with hearing the other horse catching up and end up in utter rage and desperation since I have just lost a lot of money. I will need to find a way to show this all in silence, since we cannot take too much focus from Roma and Ui, who are talking on the foreground. 
   We also had a discussion of whether or not to have alcohol in this scene, and what kind of representation of alcohol it will be. Of course, at this time they in prohibition, which meant alcohol was illegal, but if the bookmakers was an underground one like speakeasies were, the characters could have alcohol present. I did a bit of research into this and found out that before the Great Depression, gambling had been deemed illegal, plummeting the popularity of horse racing. But since the falling economy and desperate ways for finding revenues, horse racing seemed like a good choice because of its previous popularity. So, bookmakers and betting on horses were legal, but the government put huge taxes on the revenues, which meant gambling was more expensive with lesser winnings than before.  This really answers our problem. This most likely wouldn't have been an illegal office, but rather a public building, meaning that we could not have alcohol present. 
   I think me, the other newspaper chorus and Ragg could have more interactions with each other, to create more of the bookies feeling, but also to show natural interactions between people. Our newspaper section is getting along quite well, but I really want to react better to the action between Ui and Roma, so that our snooping and reactions would enhance the plot and show the audience this is something they want to be listening to. 

   Next we worked on the transition from scene 5 to 6. This transition really needed some choreographing, since it a chance between me and Yunusa, Ui switching actors which we are trying to make clear to the audience, who is Ui. To start to create a base for it, Siou simply put the music we had all decided on having and we would all individually make our own dance or movement to it. The results were varying, but I think it help us to create a good transition. This transition follows Bowl's death, and so we wanted this transition really to be something contrasting to it, humorous even. Sophie and Greta liked very much how Robin was making every movement very cartoon like, clear and every movement being precisely done, and we decided to follow that on our chorus. Me and Yunusa started playing around with finger clicking and simply going down and up while swaying our arms with the music, Yunusa then suggested doing this foot game to bring in a bit more movement into our change. I thought this was a brilliant idea, and think that once we have done this a couple of times we could make it even faster and snappier. 

8.6. Filming Dance + Tickets

Today we had a day of self-directed study, and since what we really want to do to get our scenes forward is to show them for Siou and get her feedback on them, today we decided to work on our production roles, individual scenes and a video for the start of the show. We have talked about having a dance video play on loop when the audience is coming in to create that cabaret feeling and Greta had promised to create a dance for us. We could have used actual videos of that time, but it will make it more personal for us to make the dance ourselves.  So today, me Greta, Sophie and Jenny set on rehearsing the dance, tweaking it a little and filming it.
   Our costume was to wear simply white shirts, black leggings and our brogues. Of course, dresses would have been better creating a mood of showgirls, but since we already got the costume before actually coming up with this idea, it would have been too time consuming and too late for us to edit it. I am going to be editing it so that it look a bit older, making it black and white and hopefully adding some graining to it as well. The song with be played on tip of it as well. 

   Later on, me and Sophie set off to the library to get the program as finished as possible and create tickets for our show. Sophie has taken on finishing the program, where as I set to design the tickets. I wanted to stay in the same theme with the poster, but not simply just use the same base and add 'admit one' to it, but rather create an individual design. I used the same silhouette filled with cauliflowers as in the poster, but made it bigger on the ticket, so that you can only see down to the shoulders of the man.

5.6. Run of scenes 1-6

Today we ran the first part of the show, up to we are having the interval. Here are some of the notes that we got:

• Prologue
• Gests improving, we need go even further!
• When Ui's are introduced, the Gests feel sticky and so it needs to be changed to something more smoother. 
• Everyone doesn't seem to know the dance routine, so it needs running
• Lines need to be said snappier so that the poem becomes smoother and not as choppy
• Could Dogsborough catch his stick, since he won't have it during the dance? 
• Scene 1
• In the beginning when we are doing the Gests, we need to keep them up a lot longer and keep them alive, rather than just posing. We need to keep the energy up!
• Higher state of tension is needed, since the vegetable dealers are worrying about their businesses
• Some lines like "Dogsboroughs shoes" should be directed towards the audience and shown even more cheesy
• Briefcase for Sophia
• Sophia and Heta more closer together
• Scene 2
• Important that we see Dogsboroughs thought process, so Harry needs to keep his eyes up
• We also need to see Dogsborough is corrupt
• More interacting with the environment, use imagination to create house around you e.g. look out of windows
• Scene 3
• Sophia cannot be visibly drinking, since it is a public place
• Newspaper people need to be listening to the radio to create the scene at the bookie's office. 
• There is supposed to be fighting between Ragg and Ui, since Roma comes to separate them.
• Scene 4
• Ui needs to build up emotions, since he is basically acting like a child in this scene and then lead in to him threatening Dogsborough
• Harry needs to react as Dogsborough
• Scene 5
• Yunusa needs to remember hitting Max as bodyguard from time to time to get support. 
• Harry needs show that Dogsborough is scared 
• Needs a transitions of Ui's
• Scene 6
•  Great potential
• Ui's mimicking walk is too over the top, as if looking for laughs. This could be perhaps more stiff and turned down, since the scene doesn't need it to be too over the top.
• Bodyguards need react to the actor in the background

  Next we need to focus on transitions and really working them out, so that the whole show can be smoother. I also want to work on the beginning Gests, since mine weren't as strong as they could have been, but I could easily make them more clear and keep them up longer. As UiI really need to find a more toned down way of mimicking the walking.

During extra rehearsals some of us set out to identify which transitions still need work and what kind of transitions we want for each scene. We also worked out transitions for scene 3 and Ui's transition between scene 10 and 11.Coming from scene 2 to 3 we decided to have the newspaper people come in to the song 'We're in the money', put the blocks into place and set up the bookie's office by looking  at the nespapers ans pretend to pick out a horse and bet on it between them. Then, Ragg could come in to shoo us away from the counter we just created and start the scene. 

For Max's and Liam's transition we played around with mimicking and a game of call and response, having Max do movements and Liam following them. This would have Max put on Liam's mustache for him and exit the stage, showing the audience that Liam is the new Ui. 

4.6. Scene 13 + Make up

   Me and Sophie came in early today and decided to work on some of the transitions while we were waiting. We were missing a big transition between scene 12 and 13, going from Givola's flower shop into the funeral of Dullfeet. We wanted something very upbeat to contrast the threatening end of scene 12 and morbid setting of 13 and Sophie came up with the idea of creating a dance for it. We used the above song as our inspiration, since it had a good beat in it. Unfortunately we couldn't actually use this, since it is not a 193's song, nor near the era at all. It is an electronic swing song from 2009. So, we changed it into the second song shown. Me and Sophie came up with a dance with Givola starting to conduct the flowers and them starting to dance with him. As this is going on, I will rise to Ui on stage and we will have own little dance to switch the mustache . HERE are some of the ideas we had for the dance. This dance ended up fitting the second song quite well also, we just had to tweak some bits here and there since the beat of the song is a bit slower.

   Then we cracked on with scene 13, which historical context I have talked about HERE. After the dance, the people on the stage will leave to go behind the audience with a snapping movement and to get the coffin. I will be left on stage to put on my coat etc as the Voice of the pastor starts speaking at the same time. People will come carrying the coffin and place in the middle of the stage, gathering around it mourn and then leave soon. We set the scene so that Giri and Givola will remain behind the coffin when Ui and Betty will be set on either side of thee coffin representing their two different sides, but also to show that his husband is dead because of this business. Our Political opinion of scene is that Ui doesn't care about the funeral nor Dullfeets death, but is after Cicero and Betty's support. He is at the funeral to talk about this, because he sees this as a weak moment for Betty, thinking this would make it easier to convince her to join  Ui team.
   I really feel this is the scene that shows Ui's evil side properly and his confidence that has been rising with each scene. I've been wanting to show this side of him and I feel I can do it by taking my time saying the lines and talking even in a patronising way to Betty, as if he knows he has already won. Towards end, when Betty is not budging in with Ui, I want to have his agitation rise up and him lose his calm exterior and show his true colours as the scary and evil person he has become.
 

I also tried out the make up for the show properly this time at home. I have bought a black and white face paints that we can use for the show to create the make up. I don't feel it is necessary to use any other colours, since we do want to create the feel of a black and white movie. I talked about the make up before in THIS post. This time. I did the make up with putting a light white base and then adding black eyeliner to my eyes and re-drawing my eyebrows in a more thinner 30's style. Thin eyebrows were in fashion for women at that time, not so much for men, but I thought the thin eyebrows might bring on a more stylized look for the make up, even something that is almost clown like. I do not know yet if this is something we want to go for with our show, or create a more dark and serious make up. I do feel the make up shouldn't be as neat as I made it, and in some of the pictures when I have smudged the eyeliner, I felt the look got better. The make up could even evolve as the show goes on, getting smudgier and smudgier, as if we would have been rubbing our faces because of frustration.

Scene 15 & Epilogue

We actually worked on scene 15 in the duration of multiple days, but since it is a such a big and important scene, I wanted to dedicate a blog for it entirely. 
   I really wish we would have realised to film our discussion about this scene, but it sort of came about out of nowhere, without planning. We all just had ideas and the discussion came about naturally, but I will try my best to recreated it in text. The discussion surrounded a lot about what we want the audience to leave show thinking? What kind of mood and state of mind do we want them to be when watching this scene? What do we want to tell them? These are questions that we have had to think about each scene, but especially with this one, since it is the final blow before they leave the theatre to continue their journey where ever they are heading to. And that is exactly we wanted it to, a blow, a powerful end to our work. We talked a lot about how Hitler was corrupt, but more importantly how the whole world around him was corrupt and broken, and this is still a reality to some countries today. Leaders such as Putin, Kim Jong Un, Mugabe and Qaddafi are the Hitler's of today, whether or not their intentions are the same, but their reign and power has showed the similarities to Hitler. 
   A lot of the conversation was also not only about Hitler, but also the role of the Chicagoan's and Ciceronians and how we wanted to represent them. In the scene, they talk about how they have had to accommodate into Ui's demands, even though they did not necessarily want to. They are desperate for someone to stand up against Ui, but none of them want to do it, simply because it would endanger them. We discussed how, if all of them in the first place wouldn't have accommodated and risen against Ui, none of this would have happened, as it did with Hitler, who used the depression as a rising ground for him. We want people to leave the theatre, wanting to make change, but to do this we have to portray the citizens of Chicago and Cicero in a right way. So question was, do we want them to seem like the victims, with no choice but to bow down to Ui, or as ignorant and gullible people who are too lazy to do anything themselves and are waiting for that 'someone else' to save the day? Since this is a Brechtian play, we cannot really go with something that is in between these two views, as it wouldn't show a clear statement to the audience, and I wanted to go with the second option. This could have been even insulting to some, to say that it is ignorant for us people not do anything to make this better, but it would also provoke people to think and discuss between each other. This could also highlight the message that it wasn't only 'the evil in Hitler' that killed million, but also the society, culture and people of Germany that supported the Nazi party, but also the governments and leaders before that, giving Hitler and the Nazi the chance to grow. For me, it was hard to think otherwise than 'How is there NOT something wrong with the current human race when we need blame one ethnic group of people for our own misfortune?'. I wanted to show that to the audience that is a change is US that needs to be done, not just the governments and big political moguls. But there was also a discussion about how fear changes people and our priorities change when we fear for our lives. Greta pointed out, that even thought these people wanted change, they were more worried about the people close to them and what would happen to them. In the scene, a lot of the citizens are vegetable dealers, and so probably the providers for their family. If they would stand up to Ui and die because of it, it wouldn't only mean their life has ended, but possibly change the lives of their spouses, children and other relatives and friends. We want to show this fear in the citizens when Ui comes in, as they barely have the courage to even look at him. We can show this very well with Lecoq's different states of tension. In this discussion I was very adamant with my idea and my view of the scene, which made me feel very negatively about how others saw the scene, I feel that in the future I need to remind myself, that my view isn't always the best one and that I need to leave space for others to express themselves and their ideas as well. This way it will also ease my mind, since I do not always have to feel like I am in control and taking care of things, but rather encourage others to take on some responsibilities. 
   Our POLITICAL OPINION of this scene is to show Ui's way of manipulating people with not only fear, but also corrupt charm. We want to show the audience that the vegetable dealers could have made a difference in the beginning, but didn't because of the fear. We want the audience to know our point and the fact that we are still very much complacent!

   The epilogue is a small section that follows the last scene, and we didn't want this section to be too over powering over the last scene, but rather reinforce the message we want to give. Pretty much immediately we knew we wanted Sophie to say the last lines, since she delivers the first ones as the MP. This is a great way to bring the beginning and the end together. There is going to be a difference in the way she will be presenting the lines, in the prologue she has a very MP style, over the top and cheerful inspired by show girls from cabarets, but the epilogue should be a lot more turned down, so that the words themselves get their impact across.
THUS LEARN YOU HOW TO SEE, AND NOT JUST LOOK,
AND ACT INSTEAD OF TALKING ALL DAY LONG;
THE WORLD WAS ALMOST RULED BY SUCH A CROOK!
THOUGH PEOPLE OVERCAME HIM, YOU'D BE WRONG 
TO PAT YOUR BACKS AND THINK YOURSELVES SO CLEVER-
THE OOZE THAT SPAWNED HIM IS AS RICH AS EVER!
  This short poem is very much about people going out and making an active change, rather than just sitting in front of their televisions and watching what is happening in the world. When talking about Hitler and WWII, history books often emphasize how there has been a change and things a re better now, but is it really? There are still nations and people suffering, there are still corrupt politicians and leaders that put glory before their people. It is not time for us to tell what good job we have done yet, since there is so much more we can still do to make this world better. I feel that this poem is also saying  that the solution isn't simply erasing the problem, but also fixing the source of the problem. 
      We talked about where Sophie should be when presenting the epilogue there were idea about having her either on the stage or perhaps in the audience. We have one of the VIP tables reserved for us and lit, which I thought could be a nice and interesting ending for the show, with having a spot light on the table and her talking in a calm, all knowing way. The problem with this is, that all of the audience might not see her well, which would make being on the stage a better idea. But since we will be having the montage right after this epilogue, it could be a smoother ending if Sophie would in the table, point to the screen after her speech, light go down and the montage starts. This way, Sophie wouldn't have to move off the stage, away from the screen. We will definitely have to try this out more at Pelham and see which one makes the biggest impact. 


 

  A obstacle for us was our small numbers of people. The scene begins with the vegetable dealers rallying and talking about how things have changed for worse since Ui got the power over Chicago. Then, as the Ciceronians enter the stage we wanted to show the split between these two groups of people, but also towns. This showed to be difficult, since there isn't really that many of us on the stage. So, we came up with an idea to use the audience to support us, especially the Ciceronians, by having the actors talk to the audience before entering, telling them to agree with them. Sophie also came up with that we could have signs projected, telling the audience what to say. Not only would this create an illusion of an bigger group of people, but also show how big groups of people will follow instructions like sheep. Also, right at the beginning when the Chicagoans are rallying, we thought to play a game of socking, where the person who is saying their line will go in front of the group, whilst the other will be trying to be seen and heard behind them. This will create the image that there isn't a lot of space between a big crowd of people. I will also be making a cardboard cut out of a crowd of people to show as shadows for a part of the scene, before the Ciceronians enter, since we talked this could help us as well. The only problem is that we will also be having the projection of instructions for the audience, so having two different things happening on the screen during the scene might seem overpowering or messy.
   The Chicagoans and Ciceronian will be arguing with each other, first from each side of the stage, but them coming in together, almost fighting physically, until Givola, Giri and Ui come in. At this point, we want the group pf people to separate on each side of the floor/islands, to make way for Ui. We wanted to make this scene quite stylized, so we will be having Giri and Givola slide away from Ui's way, in a showgirl style, tying us back to the beginning and prologues showgirls.


 
We have known from the beginning, that for the last scene we wanted all of the Ui's to come together and make up something very stylized with all of the Ui's. I will start as Ui, since I have been him in the last two scenes and start his big chunk of text as well. But then as I take my place at the end of the thrust, Max will take over, then Yunusa and then Liam, us creating a diamond shape on the stage. After this we will all walk into the centre to create a bigger Ui, 'the monster'. I came up with us creating this being by keeping the diamond shape, but being very close together and be being on my knees to create levels. This is a part we will really need to rehearse well, since we planned out that all of our movements will be in unison. In our speech the lines will be split again, but we will also have lines and words said in unison to create a contrast to words like "peace" to make it seem more demonic and showing his true colours. The line "Today, we are one" will be said by everyone and the chorus will go down on their knees, representing all the dictators that are still existing today, but also when having the people of Chicago and Cicero go down really show the oppression they facing because of Ui. As the speech comes into talking about the different cities, each people will say one or two cities while coming up as showgirls and Ui thriving in his power. At this part, Siou pointed out to us that we need to say each city in their own way, to show their individual sparks, but also make the section a bit more interesting and not so predictable. At the end everyone will rise their hands up in a smooth manner to the Heil, and lights will go down. 
    I think this ending leaves a lot of room for acting and the emotions the different people are going through, but also to the message we are trying to say. A large and elaborate choreography might have distracted the audience, but with this kind of end we were still able to bring on elements from the prologue and our inspiration of showgirls into it, but in a more throughout and simple manner. It'll be a lot of work for me and the other Ui's to get our speech just right and we need to run trough the different gests over and over again, so that we are doing it all at the same time. To improve my own performance I want to work on Chekov's idea of rediating to pulse this evil energy to the audience, even if I am only on my knees at the end. 

   After the epilogue we wanted to have one last montage that would show the connection of these happening to today. We talked about showing the evolution of dictators from past to present, showing the audience how the problem was never truly solved, but these people are still getting power and recognition. After Greta showed us the above video of Russia's Eurovision contestant singing about peace, but clips from Ukraine and Russia added, we decided to change our focus from the dictators into the actually people suffering from this lack of change. I feel this a good change of directions, since we as people put too much focus on the criminals and dictator, giving them more attention that they want, instead of showing the suffering of the people and naming victims that deserve justice. This will still show our point well and urge our audience to make change and acting upon these things their priority. Max will be ahead of this montage, and he suggested using Loius Armstrong's song 'What a wonderful world' in this montage to contrast the happening in the videos. 

1.6. Scene 10 & Trailer & Program

   Since we have now finished acting for camera, we had today time to do some rehearsing. So we set on to block and rehearse scene 10. Our POLITICAL VIEW for this scene is that Ui is being thrown around and manipulated by all of his henchmen. Both Roma and Giri are talking to Ui, trying to get him against the other henchmen. Giri is black painting Roma, saying that he is plotting against Ui, but in reality Roma is only thinking what is best for Ui. 

   The death of Hindenburg. Junkers demand Rohm's removal. The occupation of Austria is planned. This is what our sign will be saying at the end of this scene, connecting to the real life happening following Hindenburgs death. Hitler had already agreed with the Cabinet to combine the positions of the Chancellor and the President of Germany to avoid a new election, but also to make him the man in power. Hindenburgs will would have told, that one of his last wishes was to restore the monarchy in Germany, but since Hitler never published the will, he managed to twist Hindenburgs words and make it seem like it was the old mans wish for Hitler to rise to power. This also convinced the public about this decition, and when a vote was held to determine, whether these changes would be held, Hitler won by 90%. 

   Hitler always saw Austria as part of Germany, or at least something that should eventually become a part of it once again. Because of the happenings during WWI and following it, mainly the because of the Treaty of Versailles, Austria and Germany were forbidden to create an union between them, to protect the small country of Austria. Italy had created a protecting relationship with Austria and after the Austrian chancellor Dollfuss died in 1934, Italy moved their troops into Austria, fearing that Germany might want to take the opportunity to occupy the country. But in 1936, Germany and Italy started to create a friendship between them and by the end of the year Mussolini, the leader of Italy, had withdrawn all support for Austria, giving Germany the opportunity to take over. Under pressure from Hitler, who was threatening Austria with bombing if they wouldn't follow his command, Austrian chancellor Schuschnigg resigned with the entirety of his cabinet, except  Seyss-Inquart who was a Austrian-Nazi. He followed this by inviting the German troops into Austria. Mussolini did nothing in response to this, where as France and England remained only verbal, which was something that Hitler had expected, not being afraid of conflict. And so, Austria became apart of German Greater Reich. 

  

   Something that is similar to this, that is happening right now is Putin going into Crimea and trying to transfuse it with Russia. Ukraine used to be part of the Soviet Union, and since it separated from Russian, Ukraine still has a high percentage of people of Russian ethnicity in it, especially in Crimea which is 50% Russian. This is something that Putin has been using as his reasoning for going into Ukraine and holding elections for combining Crimea with Russia, which have been allegedly rigged. In Putin's words he has been "'protecting the Russian people of Ukraine', even though this has resulted into more conflict and distress in many of the affected areas. 

   Coming from Finland who has stayed neutral so far with this issue, I have conflicting feeling about this all. I feel that a lot of countries do not want to get too much involved with the fights in Crimea, some because they could lose important gas resource import, since the great power oil line goes through this area(also a good reason for Russia to want to invade this area). For Finland, one of the reasons to decide to remain neutral is the protection of our own people. Finland is a neighboring country to Russia, and we were part of the Soviet Union before WWI. My country has always had a complicated relationship with Russia, since at the same time we want to remain as part f the western world and not be associated as one of Russia's allies,  but at the same time we are afraid of what would happen if we turned against them. I feel this is exactly what Brecht didn't want to happen, but rather have us actively try for change, meaning that neutral is the same as moving down people with bombs ourselves. I do not kno what to think about this, since everything isn't always that black and white.

   We do not have video of this video yet, but I will put one up as soon as we run the scene again. The blocking for this scene is pretty simple, it a scene with a lot of talking so we wanted to maintain a balance between what the characters are saying and the action on stage.The action blocking shouldn't be too complicated since most of the action comes from the characters and them plotting against each other. We set the scene mostly on the main stage and some of the island, similar to what it was in scene 6, since it is also located in the Mammoth hotel. The main bit of action we had to block was when Roma and his men threaten to shoot the others. When first trying out the scene there was a problem of having too many people blocking each other, since there are eight people on stage. Giri, Givola and their two bodyguards are being pointed with guns and we weren't able to see their reactions properly and it simply felt unnatural for them to just stand around with their hands up. It was suggested that we could have Roma's bodyguards quide the other to the wall, or in our case the screen, which would give a more organized look to the scene, but also give Giri and Givola the change to fight back. In this scene we also wanted to focus on the fact that Ui is tired and irritated, he doesn't really pay attention to what is happening until he starts to suspect his henchmen are plotting against him. 

   We went trough this scene in a hurry, meaning that we probably have over looked some things, and will need to tweak it later. I feel it is important for us see this scene done at Pelham with the staging, so that we know what the distances are and can try out the different levels to our advantage. It would have been extremely useful for us to film this scene, since there is so many of us in it, that we couldn't really get an outside view on the scene, with most of us in it. 

  We also wanted to film a short trailer for our show, to add to the website and Facebook page. We had a simple idea of having all of us who play Ui appear in it, so that the audience can see the transitions between us different actor's of Ui. We thought it would be cool to have one of us start behind the black curtains, which would then open and reveal Ui. Then, we would would one by one step forward, each of us actors changing with each step to the next one and ending with the actor of Ui who started. The video would simply end with one of us painting on our mustache, like we will be doing in the show. The mustache brings in an almost humorous taste to the video, as it does in the show as well, but it also shows the clear connection to Hitler and his rise with Nazi Germany before the Second World War.  We originally planned just to use this short video for our websites, but after some conversation, we thought it could a good way to show the audience the change of Ui in the show as well, using this video during the introduction of Ui in the prologue. In the past, we have had multiple actors playing a single character, and we have had some feedback from the audience before saying, that often the transition has been confusing to them. This time, we want to make very clear that Ui is played by multiple people and show right in the beginning who the actors are, but also that the mustache will be the defining factor of the character, to hopefully clear up any confusion. 

   After our lessons, me and Sophie set out to make, or at least start making, our program for the show. We felt that this would be a nice add to our last show, telling a bit about all of us, but also bring the performance to a more professional level. I already talked about creating the program a little in THIS post. We had a lot of ideas about what we could put in the program, for example summaries of each scene, but we decided to have a more simple program instead. The program will include:

1. Cover - Same as the poster
2. A synopsis of the play, introducing the our inspiration for style, Brech and Epic Theatre with a quote from Brecht on the page next to it. 
3. Headshots and introductions of each actor, also telling which characters they are playing - Everyone gets to write their own intro. We asked everyone in our class to write these by next Monday, so that we can finish the program next week and print it. 
4. a spread with pictures of our rehearsals and acknowledgements.
5. The last page will have our websites and any other links we want to include.

The style of the program follows the style of our poster, with the colours of black, white and yellow. We want it to be dark and simple, with all the pictures being black and white and the only colour being yellow to accent titles. 

29.5. Scene 12 & 14 at Pelham

To day was really about trying out the scenes we have created during the week at Pelham, where we could really see how much space do we have and what kind of effect does it have. Our focus was especially on scene 12 with the flower arrangements and scene 14 with its extravagant shadowing.

One problem that we noticed right away, after our first try with the flower, was that it took too long for us to come from the stage down on to the flower for the actual arrangements. We also had problems with coming down, it was very disorganized and casual, when we really wanted it to be more stylized. To solve this, we first changed our cue from the start of the poem to Givola's line "Of course he is." to start moving down, even before the characters move from the stage. To explore with the quality of movement, we used Michael Chekov's floating technique to create a more ethereal look to the flowers . I think this also brought a lot more life in to them and brings the focus from us moving the flower to the flower arrangements, since we are not the important part in this scene.
   Siou made us play this game where the two flower groups would have two sets of beats of eight to get down from the stage on to the floor. Our task was to do this by starting movement of the flowers together, but actually move of the stage one by one and stop the movement at the same time, after everyone would have taken their first positions. Then we would move in the same manner to our final positions on the floor to cover the actors. Another little tweak that we did was so change how and where we hold the flowers, so that we are more hiding the actors faces, so that they won't take the attention when the actors on the other side are talking.
   Some notes that the actors got, was to be very snappy with the poem, each line needs to come after another, to keep up the rhythm of the scene.



For scene 14 we really focused on trying out the different stages of the shadows and how they would look with the Tommy guns. Greta couldn't be in because of personal reasons, so I definitely think we should try this out again as soon as possible to get the scene done. I would also like to properly try out my idea of having me as Ui walking forward on the stage, as if I would actually be in the dream seeing Roma's ghost. We tried it very briefly, but as we had many people doing the shadows and operating the light backstage, we couldn't really get the opinion of everyone's whether or not it worked.

• What is my goal for the next lesson? What do I need to do to achieve this? What information do I need?
• I want to be memorized for scene 14, since I only have two lines, but more importantly have read through Roma's monologue and thought about how I am going to react on each line. 

27.5. Finishing scene 12 + Scene 14 + Production

Today's Targets:

• Finish scene 12 flower choreography
• Scene 14
• Website

   We finished the flower section in scene 12 from yesterday. We stuck with most of our original idea, with the squares hiding the two pairs, but we changed the end from the two tunnels connecting in the middle into us creating a arch over the thrust that the characters can walk under. This was because we wanted to keep the movement very simple, so that there would be more focus for the characters. Watching back on the videos, and we also got some feedback from Andy, the characters need to be bigger and the acting more stylized, so that the flowers do not over power the characters. Now we just need to try this out at Pelham, since the space might bring up problems such as shortness of space, longer walking distances for the characters or levels simply not translating as well. 

Scene 14 was also something we started devising today. It isn't one of the longest scenes, not some of the most plot revolving scenes, but it is a scene that builds up Ui's character by showing his fears and a side of him that is feeling regret for killing one of his oldest friends and comrades, Roma. 

   When I did research on Hitler and Röhm, I found how close their relationship was. Röhm was the only one who could call Hitler by his first name and unlike the other people working for Hitler, Röhm wasn't afraid to challenge and provoke him. This is something no one else would have dared to do. Roma is the same in this play, and I feel that this nightmare scene is Ui's conscious telling him how Roma would react to this all, if he was still alive. We all as a class agreed that this wasn't Roma coming to haunt Ui, but rather Ui's own mind playing tricks on him. He is feeling regret for killing and betraying his friend, but as it is unconscious, Ui doesn't act upon these feelings and better himself, but rather fight against them. Our political view is exactly this, Ui is denying that anything he did was wrong. 

   Brecht has used a lot Shakespearean influences in this play, for example in scene 6 where we have Ui literally read Marc Anthony's speech from  Julius Caesar. Scene 14 connects to Shakespeare's play Macbeth and especially act 3 scene 4 where Banquo's ghost appears to Macbeth by sitting on Macbeth's chair. The court, that Macbeth is having a feast for, cannot see nor hear Banquo, which makes Macbeth seem insane in front of them. As Lady Macbeth tries to defend her husbands actions, she mock Macbeth manhood and honor. These happenings convince Macbeth that his power is about to be overthrown, which only means he becomes more ambitious to maintain his position. Banquo was also Macbeth's friend, who he then murdered and Banquos presence at the feast was a reminder of that. 

  For a long time now Max has wan't to try out doing a very extravagant shadow section for our play, but so far we hadn't found any place that it would have fit, until today. Since it such a simple and short scene, with not many characters to focus on, we really had the freedom to play around with it and really get our creative juices flowing. 

Since Ui had to be asleep in this scene, we thought about multiple different ideas of how we could do this. Simply having him lay down on the floor was one ideas, as was creating a 'upright bed'. We then thought of having Ui sleep in his arm chair, since creating a bed upright could bring on a very humourous taste to this scene, which wasn't exactly what we wanted at this point, since we are trying to get the point of Ui's regret across. I talked more deeply about Hitler's sleeping problems in THIS post, but since I am trying to get some of that tiredness into my character, it could be that Ui was so tired that he fell asleep in his chair while listening to music or reading. We also discussed what should Ui do during Roma's long speech. We want the focus to be on the shadowing, so it was said that perhaps Ui should only be sleeping throughout the scene and bolt up during his last line. But I really liked the idea of an insomniac, who hasn't slept properly in days and so this all is a blend of real awake life and a nightmare to him, having Ui perhaps hallucinate this shadow of Roma. I suggested if Ui could get up from his chair to walk towards Roma, in this case the audience, since it is more in the style of Epic Theatre if I face the audience, and become more and more afraid of Roma's monstrous form, returning to his arm chair to safety and scream for help. People seemed to like this idea, but it will be smart to try it out at Pelham with the shadow, to see whether or not it is too overpowering. 

  During BLP I also finished our website. Originally we weren't able to do it, since none of us knew how to code or create a website, but today we found out about this website creating template called wix.com, and so me and Sophie took it on to create it. HERE is the link to the site. We wanted to keep it quite simple and professional, keeping with the style of the poster and with the same dark color scheme, with pops of yellow in the titles. The website really gives us a more professional look, since it includes the introduction to us actors, but also has all of the information, Facebook and twitter feeds, ticket reservation and also a map to help people find us. It would have been beneficial for us to have done this before printing the poster, since that way we could have had the web address on the poster to promote our show, but now we will just have to promote the website else where on our social media. 

26.5. Inhabiting character + Scene 12

   I saw today as a very productive day. We started off with Siou leading us a warm up and a very helpful exercise to help us inhabit our characters. We have done these exercises before, but I feel like now was a perfect time to do it again. We have now done the research needed for our characters, explored with how they speak and move and today was a good way for us to explore it even more, without scripts. We started by finding the internal rhythm of the character, which is an Yoshi Oida approach, exploring how the character moves, whether it is direct or indirect, fast or slow, and here is a video of when we also added some lines into  it:

   We also explored what it was like to interact with the other characters this way, which kind of happened automatically for me and Sophie, and we basically started acting out a part of scene 6 between us. Lecoq used this kind of game to just play around with the relationships and perhaps find new levels in them. Watching it back, I feel like Ui could be even slower, since he is high status and he doesn't really to be anywhere soon. In my interpretation, he has this fidgety energy to him, but I want him to walk slower than the other characters. I think this fidgetyness will  turn to the lower end in the later scenes as Ui becomes more confident, but I want there to be moments when he gets agitated or angry when he kind of forgets that training he had and for a split second turns into his old self, only to the realize it and fix his posture. We talked a little bit with Siou how, even though we are doing a Brechtian play, it is important for use keep using other practitioners in devising and character development. I feel like I have been using Stanislavsky throughout, thinking about my objectives and the characters super objective in my CHARACTER blog post. What makes the character Brechtian is the Gest and how we use it. I have really grown a liking to Ui's hands being in nervous fists, but as he gains more confidence he opens his hands to create that 'open and trustworthy politician' impression. For Flake my gest is rubbing of the hands together, and he has a more lean back posture, rather than Ui, who is more hunched forward. 

   Then we moved on to scene 12. I will be focusing more on the flower formation, the movement and how we made them rather the actual dialogue of the scene, since it wasn't what we were focusing on today because wanting to work on the rhythm of the movement and choreography of it. I am standing in for Yunuse, who is actually playing Dullfeet in this scene, but wasn't in today.
   This is what I wrote in my HISTORY post about Dolfuss: "Dollfuss was the Chancellor and later the dictator of Austria, before being assassinated in a failed coup done by the Nazi agents in 1934. When Hitler became the Chancellor of Germany, Dollfuss became alarmingly worried about the rise of Nazi party in Austria and because of the rising influence of Soviet Union in Europe, Dollfuss banned communism in May 1933 and then the Austrian Nazi party. Under the banner of Christian Social party he then declared to be the dictator of Austria, largely modeled after fascism in Italy. " This scene represents Dollfuss being worried about the rise of the Austrian Nazi party, after Hitler being selected as chancellor of Germany. He didn't want Austria to become part of Germany, as long as the Nazi party was in control, and so he took extreme measures to keep away from Nazi party becoming prominent in Austria, banning them and appointing himself as the dictator and turning into 'austrofascism', working with Mussolini himself to keep Austria independent.

   This is scene is in Givola's flower shop, and we really wanted to show with this how even though Givola's flower shop might look beautiful and welcoming, it is really dangerous. This is really a metaphor how Hitler's and Ui's power worked, they made an image where they seemed like good people with good intentions, but in reality they used violence to get that power. Our political view of this scene is exactly that, and how Ui and Givola are trying to sweeten Dollfuss up by speaking to his wife, whose mind easier to manipulate. We had this idea of having the flowers kind of trapping the different pairs as they disappear and appear. Here are the videos we took from today:

   There was a bit of misunderstanding from all of our parts, but in the end we agreed on how we are going to do the flower arrangements. There is 9 disappearances and appearances all together and we decided to use Max's idea of the moving flower corridors in the last two, so that then the two pairs will come together in the middle and for the first two, we will have the characters be going into the flower arrangements. We still need to try out going into the flower arrangements, will both of the groups and pairs at the same time, so that we will know the timing, and if Mrs Dullfeet and Ui will be at the arrangements too soon, since they are not starting the poem. For the others, we will alternate between simple movements, for example just going down on our knees to reveal the pairs upper bodies or moving away from the to reveal them from the middle of the flower. This way, there will be some movement, but it won't be too complicated nor take the attention away from the poem and the dialogue. Us holding the flower arrangements will reveal the pair as the other pair is finishing their last rhyming line and the other side will then close off.

   We all agreed to make the flowers bushes by attaching fake flowers to bamboo sticks, since these are easily manipulated and light to carry. They can be easily hidden underneath the stage before and after the scene. We did also discussed having wooden boards with flower pots on them, but bamboo sticks were literary there for us to use and after trying out putting on the flowers on them, it worked better to have the sticks, which we can use in any way we want, rather than worried to keep the pots parallel. This way it also looks like walls of flowers that are moving around and hiding the characters. During extra rehearsals today, me and Sophie went to buy flowers and then we all worked together to create the flower walls. We only finished four, so the walls for one side of the stage, but we need to buy more flowers to finish off the rest of the sticks. We will 8 people doing the walls, so 4 on each side of the stage that form squares where the characters can hide inside when they are not speaking during the poem. We did discuss whether to have it on the floor or the stage a little bit, which I can remember us leaning more towards being on the floor, but what we really should do is try it out at Pelham, to see how the audience would see them if they were on the floor. I do think on the floor would be better, since it would give us flower people more room to move around, when we open up to reveal the characters. With more rehearsing I think this can look very sharp and effective in the actual show. When we first started doing the flower movements, they were very sharp and robotic, but we are actually trying to make them more floating aesthetic ´, like flower have in a light breeze. This will also contrast with the movements of the characters, who in epic theatre style would be more extreme and powerful.

•    Did I achieve my last goal? What could I or the group improve on?
• Since we didn't have a lot of people today, we focused on scene 12 and the production side of the show. Max and Harry were doing the music as we were working towards the flower arrangements. I did discuss with Max about my accent and he offered to help me sometimes, since I am struggling with keeping the accent going with certain phrases and words. 
• What is my goal for the next lesson? What do I need to do to achieve this? What information do I need?
• I want to continue to work on the transitions and coming up with ideas. I think this Friday at Pelham that is what we should focus on and working out blocking of some scenes. We can run them with lines during extra rehearsals, but to know if the transitions and blocking work we need the staging. 
• I came up with a transition from scene 12 into 13 that would incorporate the change of Arturo Ui as well. We talked about having a blackout with the voice of the pastor starting in the darkness, but U thought perhaps the voice could start while Liam as Ui is still on the stage. As everyone else leaves, turning from the flowers into a funeral march to get the coffin from behind the audience, I would stay and me and Liam can switch parts on the stage. Then Liam could leave the stage and I can stay as Arturo Ui to wait for the funeral march, as if I would have been watching from a far. This would incorporate the Brechtian ideology of seeing the actors change on stage, to keep the audience from getting into the illusion, but also prevent us from using another black out. Even though black outs cab be very useful and effective, used too much the show can seem choppy. 
• We could have a similar change between scene 5 and 6 where everyone else leaves and only me and Yunysa are left with opera music to change, as if we were changing from a suit into something more relaxed. We still need to think about how the other members would leave the stage in a stylized matter. 

22.5. Run at Pelham

[VIDEO ADDED WHEN ITS ONLINE]

Today we were at Pelham to run some of our existing scenes so that we get to try them out on the stage, but also to get some feedback from Siou on our scenes. We were also introduced to Robin, who will be taking over couple of the roles, since we lost one of our actors. He will be taking the roles of Goodwill, Prosecutor and be part of some of the ensemble parts. Here are some of the notes Siou gave us after the run, but also things that I noticed while watching the scenes:

• Prologue
• we need a song for when we come on the stage. We have earlier discussed, that the drum bit in our actual song we use for the prologue could be on a loop and then continue to fit our dance. The changes Sophie helped us all to make earlier worked a lot better, now we just need to keep running to get them right and so that everyone is doing them at the same time.
• When the characters are introduced they need to have clear Gest when they enter and exit. This should be noted throughout the play, so that every time a scene starts the audience will know what characters are in the scene. We also need to be sharing with the audience more
• When Ui's are revealed they can be standing further back to be separated from the rest pf the ensemble. The chorus also needs to be more spread out .
• Ui's introduction isn't working with the awkward waving, but we need to define exactly what we are doing. Max suggested doing Gests in a echoe way where we do the Gests ina wave. I want it to show what Ui is the beginning or the progression of his character, starting out timid and then gaining power and the Gests to forward.
• Scene 3
• We need to use more imagination show the bookie's office. We could do this by adding some moments when the characters can be listening to a radio telling about the winning horses. Ragg and Dockdaisy could be doing this while they are on the side drinking before Ui comes to talk to them.
• We need to stick to our style of DARK and SINISTER. There are moments that are funny in this play, which we should embrace, but it is still trying to make a point about the rise of dictators and this needs to have the space to come trough. 
• Siou gave us a good note to think of the Gests as tableaux; having one gest on one line and then change in to another Gests. We can play around with the change either being fast and sharp or slow and smooth to create different moods. States of tension is something we should also take in consideration, since characters, especially Ui, change their tensions quickly.
• Keep acting and listening out! The style is acting out to the audience and we need to remember this!
• Scene 4
• More energy! Ui needs have so much more impact. The last time we did this scene Yunusa was basically begging on the floor and crying as Ui, which worked so well, but this time the drama was sort of forgotten about. 
• Use the states of tension!
• Scene 5
• We need to re-stage this scene. Personally, this was my first time doing this scene and I have also been changed character in the meanwhile, so I was out of place most of the time, or rather on the same place. With this scene we tried to show the two sides, by having all the Cauliflower trust people huddled around Dogsborough, and even though it might have worked for a bit, we need to get more movement in the scene and use the space better. We definitely need to look at this scene again more in detail
• move the body of Bowl in the middle of the stage
• More chaos when we hear Bowl has been murdered. HIGH TENSION!
• With this we could simply just do the tension exercise with the scene, without the lines, Have us set up on the stage and then have someone yell "Bowl has been murdered!" or "There's a bomb in the room!" and see how people naturally react to this and then take on some reaction and actions we like and use it to create the high tension in the scene.
• Scene 6
• Maybe instead of having a physical mirror or mirror frame, we could use the shadow as the mirror?
• Have the bodyguards get the chair for Ui from the audience.
• Scene 7
• Should the vegetable dealers be on the stage scattered, rather than in the audience? If they are in the audience they cannot really be seen by the audience, especially since they do react and talk back to Ui. 
• We shouldn't be really saying the bodyguard is a baritone, since I am not a baritone at all
• During the song, people could come around and even start singing with it, since it supposed to create a sense of home and working together.
• Transitions are way too messy
• Transitions in this run through didn't go well at all, and I think it is simply because we haven't discussed them. So far, we have been focused on doing the scenes, that most of the time we forget about the transition into the next scene, or simply put a black out to it. I feel that during some class, we need to go through all of the transitions, see where the scene ends and where the next one starts and decide what we are going to to do during it. I know some have talked about doing more run troughs, but I don't think there is necessarily point to run all of them back to back if we actually do not know what we are doing. We should discuss them first, try the transitions and then do a run through with all of the scenes. 

We tried out what the VIP tables would look like. We will probably fit 6
 tables which each can seat 3-5 people

•    Did I achieve my last goal? What could I or the group improve on?
• For this lesson I didn't make any specific goal, I have the general ones going on such us working on my Gest and lines. I feel like I am getting comfortable with my lines, especially in scene 6, but I still need to get off book and soon!
• What did I learn during this lesson? How can I use it?
• I feel that we noticed all that we haven't been really focusing on the details of the scenes, but also working trough them a little too fast. I feel like we work on one scene for only day, even though it would be good for us to look at some of the scenes a day or two later we have created them, to see what doesn't work. Also, if people are missing we need to do the scene with them in it, because today there a couple of scene that people simply didn't know what they were supposed to be doing, because everyone else had moved on too quickly. It is important for us ask what the group did when we were away, but something words do not translate the same to everyone, which then creates confusion. 
• What is my goal for the next lesson? What do I need to do to achieve this? What information do I need?
• In next lesson I think, rather than starting on a new scene, we should perhaps work on some these scenes that need the most work, for example scene 5 that desperately needs blocking. Also us Ui really need discuss the prologue and what we are going to do in it. I will come up with some ideas to share to the class on Tuesday. I also want to look at the scene changes and maybe come up with ideas for that as well.

21.5. Scene 11

  During today's extra rehearsal we started to devise scene 11. The scene is very much about betrayal, since in this scene Ui comes and murders Roma and his men. It connects to the real happenings of the death of Ernest Röhm, right hand man of Hitler, during thee Night of The Long Knives, when Hitler ordered many political murders. Hitler had seen that the independence of SA, the military Röhm was the leader of, was becoming on the way of his newly gained political power. The killings strengthened Hitler relationship with the German army, which Röhm was going to melt in with the SA.
   These kind of political killings still happen these days, for example the former deputy prime minister Boris Nemtsov was killed earlier this year. He was an opposed to Putin and on the conflict in eastern Ukraine. He was planning a march against it and actually said to the press that he was afraid of being killed because of his opposition to the war. The motive for this killing is unknown, but Putin's side has rejected that he had any involvement in it. But there has been other political murderd happen to the critics of Vladimir Putin, for example the assassination of Anna Politkovskaya in 2006. She was someone who had criticized Putin in several occasion, and as a known activist and journalist, she was probably seen as a threat to Putin and his reputation. Also, Alexander Litvinenko who was a former officer of the Russian Federal Security Service, was poisoned with radioactive polonium about three weeks after Politkovskayas death after blaming Putin for her death.

   Before devising the scene, we discussed some idea we had for the scene. Since they are in a garage and there is part where the steel shutters close, I suggested that perhaps we could use the curtain as the shutters closing, just having a sound effect to create the illusion of the steel shutter. I also thought that it would then be a great reveal for Ui to be revealed from behind the curtains, as the shutters are opened again. We also talked about how to have Roma's gunmen have be shot, since in the play they are said to have taken to the wall to be shot. We thought that it would be good to use the screen and have them go behind the screen, but the shooter actually be in front of it, so that we can see the shooting, but not the actual death. This would be a creative and stylized way to show that they have indeed died, but not take too much attention away from Roma who is still struggling to stay alive on the stage. As the gunmen are shot, it was also suggested that we could have bullet shots come on the screen. This seems like a very good idea, but we do need to try it out at Pelham some day, since the shadows might not be seen that well will the video we looked at to be projected.
   Greta suggested to use Mozart song 'Lacrimosa' for the first shot of Roma and then to keep playing for the rest of the scene. It worked really well with the scene and the mood, it was sad and dramatic, which I realized was a bit of a problem. In any other show it would have been the perfect choice for the scene, but since Brecht wanted the audience to know they were in a show rather get emotionally attached with the characters, he used music that completely didn't fit the scenes mood. As I said this to the group, Sophia put on Benny Goodman's 'Sing Sing Sing' and everyone's face lit up. This was the perfect song for our purposes and it would look great with the slow motion we planned with the shooting of Roma. The music would then stay on the background playing for the rest of the scene, quiet, but still so that the audience can hear it. I think we will have to put the first shots in with the music, since we want the music to start right after the first gunshot, and have a couple of more shots in slow motion with the music. The sound effect for the rest of the shots should not be edited in with the music, since it'll easier with those to have Adam cue it with the dialogue.

   We didn't remember to take video of this scene, but I will put up one the next time we go over the scene. For this scene, we should get the music and sound effects done soon, since this one has quite many cues that need to be perfectly timed to make the deaths work. I think we should also all work on the slow motion, since even though most of the action is by Sophie's and Greta's character during this bit, everyone needs to react to the gunshots and the death in slow motion, keeping in with the style we choose. The movements should be over done to make them clear, but still stay serious enough that it doesn't become humourous. 

   For the slow motion gunshots, I was thinking about using this to add to the music, just do it 3-4 times and take out the click sound before the gunshot. This way I can create the slow motion tommy gun by being able to manipulate how long is the interval between each gun shot. For the real-time gunshots we can use the lower sound effect.