CV

Michaela Spinks

253 Homestead Way, New Addington

Mobile Number: 07947956137

Personal Statement

Currently a student at Coulsdon Sixth Form College working towards getting the best grades I can with my A level courses which are; Graphics, Photography and Theatre. I also took Geography at AS level. Looking to go to Canterbury Christchurch University in September 2015.

Skills and Qualities

·      Helping people

·      Preparing for meetings

·      Punctual

·      Good telephone manner

·      Caring and considerate

·      Willingness to learn

·      Very creative

·      Well organised

·      Attentive to detail

Education

Coulsdon Sixth Form College

Date: September 2013-Present

Studying: A levels

Addington High School

September 2008-June 2013

10 GCSE’S including English A, Maths C and Science C, Graphic Design B, Drama B.

Work Experience

Name: Playday’s Nursery

Location: Croydon.

June 2012 for 2 weeks

Tasks:

·      Creating educational and fun activities

·      Prepared lunch tables and cleaned up after use

·      Tidied up play areas

Interests

Enjoy reading, have a broad range of books I like to read, it has allowed my vocabulary and imagination to expand. I enjoy art and design, which was my influence to taking Graphics at college.

References

Coulsdon Sixth Form College

Place House Lane

Coulsdon

Surrey

CR5 1YA

Tutor Name: Steve Denton

Phone number: 01737 551 176

Email:steve.denton@coulsdon.ac.uk

Lysistrata Exam Question

Michaela Spinks-Theatre Exam Question

Q) Lysistrata uses humour to tackle serious issues for a 21^st century audience. Justify a production of the play in the light of this statement.

As a director, my production for Lysistrata focuses on The Womens Land Army during WW2, which involved the women taking over the agricultural work around rural areas, whilst the men were off fighting in the war. I wish to involve humour within my play through the use of exaggerating the characters personalities, incorporating fluid exaggerated movements, and through the use of experimenting with voice and facial expressions.

To start with, my rehearsals will involve activities such as the actors telling each other silly jokes, or creating abstract still images of certain themes that can allow each actor to come out of their comfort zone. To highlight a sense of humour that some of the characters in the play aren’t apparent off, I would get my actors in rehearsals to produce a movement piece, or still image that is funny, however they are not allowed to laugh, smile or show any form of fun.

When it comes to performing actual scenes in the play, scene 1 for example, I would set the stage outside in a park, or in a field to make the atmosphere calm and tranquil. For vocal comedy, when Calenice appears, I would want her to come across as play full and fun, however sensual and flirty. With lines such as “Big and meaty you mean?” and “Something pretty flimsy, then, surely, if it’s so easy to toss about?” I would want Calenice to talk very slow and in an obvious way, address the audience when she makes these sensual remarks. I get the impression she is purposefully tantalising and winding Lysistrata up with these remarks, therefore actions such as winks towards the audience, or caressing something in her hand are the sort of actions that would express the joke she is playing towards her friend.

For physical comedy, take scene 1 again however further on down the scene when Myrrhine arrives, this is where I would like it to get more physical in terms of using more space. After Lysistrata has told them her idea of renouncing sex, both Calenice and Myrrhine seemed startled and taken aback, and to really express this shock, but also highlight the humour, I would want Calenice to fall on her knees and act as though the worst thing that could possibly happen has happened. I would like Myrrhine to be so taken aback at first that her body is frozen, but then suddenly she starts breathing heavy and quick, and over dramatic as though she has minutes left to live. When Myrrhine says “But look, suppose we did renounce-what you said-which may heaven forbid-“ at this point I would like her to turn to the audience on the line of “heaven forbid” I would like her to turn to the audience and say this with a stern but insecure voice which will highlight her serious humour.

Task 1

The place of theatre in the society of the time. There was a theatre in most Greek cities, whether it is in the open air or usually in a bowl-shaped arena on a hillside. Some were very big, allowing room for more than 15,000 people in the audience.	The place of theatre in the society of the time. The places of theatre today are very diverse, expanding across the whole of England. There is a wide range of plays available to watch due to the increase of play writers, availability to better equipment and facilities.
It’s impact on each section of society Within the ancient Greek world, religion was personal and present in all areas of life. Greek plays (Lysistrata in particular), involve the character swearing to the God of Athena or Zeus, which is when the characters appeared passionate or desperate. There was a sense of community when these plays were performed, as they were held during festivals such as the City Dionysian of Athens, which involved athletic games and competitions.	It’s impact on each section of society Theatre is used today, not only for those who enjoy dramatic performance, but to educate those of both younger and older years about lifestyles that may not appeal to them. To educate younger children, serious situations such as death, war and illness could be made more humorous and light hearted to allow them to understand. Those of an older age, who may understand the full lengths on today’s society, a more sophisticated and backdated way of teaching them.
The conventions of the theatre Plays were performed only during the daytime. Props and verbal references became a very large part of “setting the scene” for performances. The large outdoor theatres could seat 14,000 to 15000 spectators.	The conventions of the theatre Theatrical performance involves freeze frames, caricature, pathos, satire, and heightened use of language.
The intended impact on the audience The theatrical costumes were intended to convey an idea of the dresses actually worn by the persons represented, while those of the Greeks were nothing but modifications of the festal robes worn in Dionysian processions.	The intended impact on the audience The impact on the audience depends on the playwright’s ruiling idea throughout the play, which will leave the audience enlightened or confused, depending on the mood the play is set. The mood of the play may allow members of the audience to experience new emotions they may not have come across before.
The specific’s of the work of Aristophanes Aristophanes is a Greek playwright and poet, whose surviving plays are the only extant examples of Greek Old Comedy. Exact details of his birthplace and life are not known, but most likely he was educated in and lived in Athens. Besides his many dramatic works, much poetry is attributed to him.  Many of Aristophanes rollicking comedies were written for and performed during the religious festivals Dionysia and Lenea.

Task 4

Michaela Spinks- TASK 4

Section	Who	Objective
Prologue	Lysistrata, Calenice, Myrhinne	For Lysistrata to get the women to agree to her idea.
Parados	Chorus of Old Men, Lysistrata, Chorus of Old Women	Chorus of Old men try to get Lysistrata and her companions to leave the Acropolis, The Chorus of Old women go against the Old Men.
Agon	Magistrate, Lysistrata, Women	Magistrate wants to regain control of the Acropolis
Parabasis 1	Chorus of Old Men, Chorus of Old Women	To take on each other and, men temporarily defeated
Scene	Lysistrata	Lysistrata tries to prevent the women for giving in and going back to their husbands
Chorus	Chorus of Old Men and Women	Old Men and Women exchange tales and throw further insults at each other
Scene	Cinesias, Myrrhine, Chorus of Old Men, Spartan Herald	Cinesias wants Myrrhine to comfort him, The Old Men try to sympathise with him, Spartan Herald wants to explain that Spartan Men are also suffering from sexual frustration
Parabasis 2	Stratyllis, Chorus of Old Women and Men	Kiss and make up to become one united Chorus
Reconcilliation	Athenian and Spartan leaders, Lysistrata	Athenian and Spartan leaders meet to negotiate peace. Lysistrata aims ton lead both sides to sign the treaty.
Komos	Chorus, Athenians, Spartans, Lysistrata	To end with a celebration of everlasting peace and joy, involving songs and dances.