Overall Assessment

1. Performance against project goals and objectives-8
2. Performance against a planned schedule-9
3. Performance against quality goals-9
4. Performance against planned budget-10
5. Adherence to scope (who and how many audience members we reached)-7
6. Design, rehearsal, and performance planning-9
7. Resource management-9
8. Project management-8
9. Development-8
10. Communication-10
11. Team Cooperation-10
12. What we delivered-8

Overall, I thought we had a successful and enjoyable show.

Risk Management

Circumstances that need to be mitigated:
Already mitigated:

• most costumes/props were taken home
• stairwells were unblocked from Bunraku

Still need to be mitigated

• I need to take home my fan
• the puppets need to be put away or hung up
• we need to take down the posters
• the instruments need to be taken home
• thank-you notes (Mr. Gilbert, Mrs. Williams, Mr. Harral, DO, Maddie's mom)

Key Problem Areas

What went wrong?

• when I did the triangle in the second Kyogen, they didn't say a couple "with all my heart" lines, so I couldn't play it have it be effective through repetition
• I didn't have my lines exactly correct
• it was hard to walk with our feet on the ground

What processes didn't work well?

• I thought we could have made our show funnier
• we weren't as in-sync with Kyogen part 2
• we should have worked on the ending more

What specific processes caused problems?

• we didn't have an adequate budget
• I avoided direct eye contact

What were the effects of some of the key problem areas?

• without a budget, we sometimes couldn't maintain total Japanese theatrical integrity
• I felt like I should have looked at each of the audience member

Were there any technical challenges?

• we didn't have the tree projected on the screen
• we were limited with set because of using Miss Hartman's room and the fact that we had to use Noh's set
• having the busu on the desk prevented us from being on our knees

Key Accomplisments

What went right?

• we didn't forget lines during the show
• we stayed in character and acted well

What worked well?

• the different fans worked well and really added to the comedy of the play
• the contrasting robes between the master and servants was really effective
• we kind of improvised with the string on the box

What was particularly useful?

• having class time to work was really useful and coming in the morning
• also it was good to have prior information about Japanese theatre so we knew how we could address blocking and interpretation of the show

What were the highlights?

• I think the relationship between Suheli and Tristan was hilarious and a real crowd pleaser
• I thought the talk-back was great because it showed that we had gotten our message across to the audience and they were interested in our show
• we just had fun with the show

Finally updating

Ahh the drawbacks of an online journal...I had been having trouble getting onto my journal site, so for the past month or so I've been using my hard-copy journal as we progressed in our Japanese theatre studies. Now I will begin the ever-fun process of transferring over from my hard-copy journal to here.

Production Overview

Goals/Objectives of Class

• present a new type of theatre to our audiences
• challenge ourselves to maintain Japanese theatrical identity
• memorize lines and fulfill all character roles
• have a production that flowed/ was synchronized
• make it funny to fulfill kyogen requirements
• find an effective performance space

How did you achieve success on this project?

• we spent several days carefully choosing blocking and line delivery techniques
• we practiced our production almost every class
• we got together the morning of the production to practice and smooth over any jitters

What were your original personal goals at the beginning of this process? (acting and technical)
   Acting:

• memorize all my lines and say them with feeling as my character--so I don't sound memorized
• get into character and effectively portray my character
• portray good chemistry with my other two characters

  Technical:

• take on a directing role with my experience from last year
• make sure blocking and line interpretation made the play make sense and be entertaining
• get costumes that could highlight character differences/similarities
• use noh's set with our play

Post-Mortem for Japanese Theatre

post-mortem=after death--the show is dead...WE KILLED IT! But really, we are tying up loose ends. We use post-mortems to understand our mistakes to improve in the future. We recognize what we've done well and how we fulfilled our expectations. We also need to take care of things that haven't been cleared up. In addition, we can talk about what we did and what happened with our shows.

Coriolanus

On Tuesday October 29, 2013, Mrs. Burke told us about a show with Gamut, Coriolanus. She was telling us how they had to mini post-mortems throughout the show when they had to switch around character positions. Maybe I can go see the show!