TASK D: Academic style of writing

Academic style of writing TASK D

‘At Chickenshed there is only one type of people: everyone.’[1]Chickenshed Theatre Company have caught the attention of many, with their fundamental inclusive values. They state that; ‘Our inclusive creative process values all our members as equals. It’s the way we run our theatre company, our youth workshops, our outreach projects and our education programmes. And, one day, it will be the way the world works. That is our vision.’[2][Through Chickenshed’s approach to performing arts, many have been given the opportunity to express themselves through theatre.

Modern society has created a greater awareness to the importance of inclusiveness through media and government legislation. In 2005, The Disability Discrimination Act was revisited and extended to improve the welfare of stately institutions. The act enforces schools to consider the prevention of ‘disabled pupils from being treated less favourably than other pupils.’[3] The implementation of these laws impacted surrounding society and made people understand the importance of inclusiveness. Chickenshed has incorporated these ethics into the company through involving all ages and abilities.

Chickenshed are now renowned as experienced pioneers, having practiced and applied these principle values into their company for over thirty-five years. Chickenshed’s challenge is to both integrate mainstream and special schools and to educate through their on-going outreach programmes.

Some have argued that Chickenshed’s approach and other theatre company’s that promote inclusive ways of working are negligent to the needs of the disabled body. Somers poses the question “Is an intensive rehearsal process conducive to the integration of persons with a disability into theatre art?” [4] In other words, is the rehearsal process a strain for the non-able body? Essentially this question connects to the concept of personalised teaching methods, which emphasises the idea of adapting teaching in accordance with the student’s abilities. Each individual, an able or non-able body deals and works in different ways. As Chickenshed recognises, every disability differs; the strengths and abilities of each individual should be observed and understood, so that previsions can be installed to those requiring support.

Candoco Dance Company illustrates, through their success that companies which promote inclusive performing arts can thrive. There website expands; ‘We want to push boundaries of Dance & disability using contemporary dance in order to broaden people's perception of what dance is and who can dance.’ [5] This company has stood by their ethos and believed that its members are the key to inspiring their work. This company has revolutionised society’s mode of thinking and played an essential role in supporting equality amongst all. Additionally, Candoco Dance Company has given hope to other companies that support inclusiveness and their pupil’s.

Somers further implies that a rehearsal period my hinder one’ self-esteem. “It would appear that working intensively may in fact not be helpful for individuals with disabilities, primarily because of the fatigue factor.” [6] This suggests that through the demanding nature of rehearsals that some may feel discouraged, as they are physically unable to compile to rehearsal demands. Fortunately Chickenshed dedicates a lot of their time and energy into educating their students, staff and members on how to support and use their inclusive methods, in a safe environment. “Where everyone is welcome and valued.”[7]
If the people of today applied this way of thinking with “No Commprise” [8], this will enhance the development and communication within each community. “To make it a better place, for you and for me and the entire human race.’ [9]

Sources:

[1] [accessed 1 January, 2010]
[2] [accessed 1 January, 2010]
[3] The Disability Discrimination Act (2005) < www.dwp.gov.uk> [accessed 2 Januray, 2010]
[4] Somers, John, 1996, Drama and Theatre in Education: Contemporary Research (York: Captus press) p224
[5] [accessed 1 January 2010]
[6] Somers, John, 1996, Drama and Theatre in Education: Contemporary Research (York: Captus press) p226
[7] [accessed 1 January, 2010]
[8] [accessed 1 January, 2010]
[9] Jackson, M, ‘Heal the World’ (1991)

Academic style of writeing 2ed draft!!

Through being a student at chicken shed theatre company, I have found myself having a stronger opinion on what inclusive theatre is and the benefits of working in an inclusive environment. ‘At Chickenshed there is only one type of people: everyone.’[i] It was Chickenshed’s ethics that caught my attention at the age of 16. I not only believed in this value, but also wanted to become part of this organisation and understand the core benefits of inclusive theatre.
Chickenshed’s website states ‘Our inclusive creative process values all our members as equals. It’s the way we run our theatre company, our youth workshops, our outreach projects and our education programmes. And, one day, it will be the way the world works. That is our vision.’[ii] From this, I wish to explore the placement of inclusiveness in contemporary theatre and how Chickenshed has impacted on society as a whole and on individuals.
Inclusiveness emphasises on the concept of including all. It has been proven that
Somers’ posed the question ‘Is an intensive rehearsal process conducive to the integration of persons with a disability into theatre art?’ In other words, is the rehearsal process a strain for the disabled body? In my experience at Chickenshed, I have found that you cannot categorise disabled people as to whether they are in a position to undergo the strain of a rehearsal or show, for the main reason that all disabled person/s are individuals. In disagreement to Somers quotation I would argue that if one is to label someone as unable, whether it is a child, a disabled person or an adult, it is a form of discrimination in itself. The benefit of being part of chicken shed is that they have made implementations that aid those that require support. For example, access to stage entrances, like lifts and ramps have been placed to assist those that need it.
Somers further implies that a rehearsal period my hinder one’ self-esteem. ‘It would appear that working intensively may in fact not be helpful for individuals with disabilities, primarily because of the fatigue factor.’ This suggests that through the demanding nature of rehearsals that some may feel discouraged, as they are physically unable to compile to rehearsal demands. In Chickenshed this has not been the case, as Chickenshed trains all there team to support those who may find difficulties. For instance, all students are taught level one signing, so that all are able to communicate with each other.

academic style of writing. FIRST DRAFT

Through being a student at chicken shed theatre company, I have found myself having a stronger opinion on what inclusive theatre is and the benefits of working in an inclusive environment. ‘At Chickenshed there is only one type of people: everyone.’ It was Chickenshed’s ethics that caught my attention at the age of 16. I not only believed in this value, but also wanted to become apart of this inclusive organisation and understand the core benefits of inclusive theatre. Chickenshed’s website states ‘Our inclusive creative process values all our members as equals. It’s the way we run our theatre company, our youth workshops, our outreach projects and our education programmes. And, one day, it will be the way the world works. That is our vision.’ From this, I wish to explore the placement of inclusiveness in contemporary theatre and how Chickenshed has impacted on society as a whole and on individuals.
Somers’ posed the question ‘Is an intensive rehearsal process conducive to the integration of persons with a disability into theatre art?’ In other words, is the rehearsal process a strain for the disabled body? In my experience at Chickenshed, I have found that you cannot categorise disabled people as to whether they are in a position to undergo the strain of a rehearsal or show, for the main reason that all disabled person/s are individuals. In disagreement to Somers quotation I would argue that if one is to label someone as unable, whether it is a child, a disabled person or an adult, it is a form of discrimination in itself. The benefit of being part of chicken shed is that they have made implementations that aid those that require support. For example, access to stage entrances, like lifts and ramps have been placed to assist those that need it. Somers further implies that a rehearsal period my hinder one’ self-esteem. ‘It would appear that working intensively may in fact not be helpful for individuals with disabilities, primarily because of the fatigue factor.’ This suggests that through the demanding nature of rehearsals that some may feel discouraged, as they are physically unable to compile to rehearsal demands. In Chickenshed this has not been the case, as Chickenshed trains all there team to support those who may find difficulties. For instance, all students are taught level one signing, so that all are able to communicate with each other.


PLEASE NOTE THAT I HAVE NOT CITED ALL MY SOURCES AND THIS IS NOT A COMPLETE DRAFT, I JUST REALLY NEED SOME COMMENTS, SO I CAN SEE WHAT PEOPLE THINK AND IF IM ON THAT RIGHT TRACK. THANKYOU1.

Marketing style of writing: Draft 2

Why not take the family to Chicken Shed this Christmas!

Having trouble, trying to cater for all your family needs this Christmas?

Is Grandma tired of drinking sherry by the fire? Is dad stressing about the financial burden that Christmas can often bring? Are the children bored of sitting at home during the Christmas holidays?

Fantasy, imagination and Love are the fundemental aspects inbedded within Chicken Shed's, Pinocchio. This production will have dad and the children dancing in their seats, grandad singing along with the cast and mum falling in love with the show's rather cheecky protagonist, Pinnochio.

This year, Chicken Shed present Pinnochio in a revolutionary way. In keeping with their inclusive approach to thearte, Chicken Shed have adapted Carlo Callodi's, Pinnochio, with a Twist! Surprise, music, laughter, fantasy and movement heighten the theartrical experience for all.

'Sugar and Spice and all things nice, that's what little girls are made of.' Is from one of the songs in the show that frees our inner child and further reminds the audience that within us lives a pinocchio. Jiminy Cricket and the audience follow Pinocchio in his path in becoming a real boy. The journey encomposes unsual events that provoke humour, like Pinocchio's infamous growing nose; 'I'm not lying, I'm not, why are you all laughing at me?' or when Pinnochio turns into an ass?

Meet different characters who both disrupt or help Pinocchio's dream of becoming a Real Boy.

Sit back and enjoy this enchanting journey.

BOOK NOW!

Dates: Friday 9th December to Friday 16th January.

Prices: £10- £19.50 (Depending on date and seat)

Contact us:

Box office: 0208 292 9222

Email: bookings@chickenshed.org.uk

For more information please visit our website: www. chickenshed.org.uk

Second Style of Writing: Descriptive.

My mind felt like a ticking clock, waiting for the clock to strike midnight, was like the anticipation of the curtain opening. As we waited for our cue, 'Catch me if you Can' I held my empty bucket. I looked in the bucket and felt an element of fear and anxiety. For that moment, whilst we waited, my bucket, even though empty felt heavy, as though it was full of water. Inside my body, butterflies flew around in my stomach, creating opposing emotions; fear and excitment, joy and exhaustion, togetherness, but somehow lonely.

The first step on stage was like an explosion. The adrenalin was rushing through my veins, the audience's eyes, felt like a teacher telling me to do my best, work my hardest and put all that I had into this performance.

The spotlight shined in my eyes like the sun on a summer's day. However the spotlight was not warm like the sun, the warmth was in me, I was the sun. I was penetrating the heat, whilst the spotlight was creating the brightness. The audience sat back and enjoyed the play, as if they were sitting back on a sun lounger in Barbados, allowing the sun to entice them into its magic.

My posistion felt robotic. My mechanical movement resembeled that of a robot; lifting my arms up and down repetitively, with the bucket. My hands where sweating as a result of my nervousness. My face differed from my body, it conveyed happiness. My face was full of emotion. Smiling on stage came naturally, as inside I felt overcome with joy and excitement.

The band along with our singing, sounded like an uncontrollable rave. The symbols sounded like waves where crashing, the colloboration of singing was like an up tempo chior and my body felt like ecstacy. I was encountering an outer-body experience, unable to control my emotion. I suddenly became conscious of my breathing and my fast beating heart. I could feel the blood rushing through my veins.

Just as quick as the symbols crashed, as did my time, my presence on stage felt like a split second. The movement off stage was quick, like a fast fox moving from a car's headlights, however inside, the pace felt sluggish. The curtains closed. The last note of the orchestra was played. The final person left the auditoruim and with it, the play set, as the sun and the stage stood still, to await the performance to rise in the morning.