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Chris Goode's Monkey Bars

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The reason I specifically chose the age of sixteen is that it is often thought of as the peak of peoples’ teenage lives; which especially rings true for myself. There’s an impression that around the age of sixteen we think that we are adults, and are aware of everything that life could possibly spring on us, which of course is not necessarily true of all people, but it gave me an incentive to challenge this to see any similarities or differences between people of different backgrounds, generations, and genders.

In England, at the age of sixteen you would be in your final year of Secondary School, possibly beginning to drink as it is legal at sixteen to drink beer or cider with a meal in a pub or hotel (so long as someone else is buying it) …show more content…

Whilst interviewing people, I found that a lot of the answers I had expected to be given would be relative to these common activities, but I found that a lot of answers were related to opportunities that were missed out on. I discovered that although we spend our teenage years in what can sometimes seem like completely separate worlds, we experience many of the same emotions growing up. One play that particularly stood out to me when thinking about the notion of growing older was Chris Goode’s ‘Monkey Bars’, a Verbatim play using the words of over 70 school children. The play was then crafted into a performance using adults in adult situations, which had all the funny, endearing and tear-jerking aspects I wanted to try and emulate with my piece. In the introduction to the play, Karl James mentions that during his interview process, he thinks about: “to, for, from and with” …show more content…

When performing my piece, I wanted to make sure that, unlike Little Revolution, the focus was purely on the performance and not the technology. I took precautions to put my phone in my pocket so that it was not a point of attention, and decided to use still images rather than home videos of each person at age sixteen. What I discovered about my own practice throughout this process is that I could try to expand my vocal range and physicality even further – perhaps finding small details that could add to a character. For example, if the character I am portraying is shy or nervous, possibly tapping my finger or finding a defining gesture. I am excited to develop my work in Verbatim further by exploring extremes and perhaps focusing on some more controversial, hard-hitting topics. I would like to find myself immersed in the heart of incredible people with interesting and heart-rendering stories so that I may create theatre that is as informative and eye-opening as the practitioners I admire have

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