So many actors walk through studio doors being hopeful for a part. Some stick it out while they learn different methods. Then in the end if some continues his practice, he will be more likely to get the extra part. If he gets more parts there will be a greater possibility of being seen with another actor who has had success and so your name can travel widely. One can become well noted for his craft but the practitioner should not be expecting instant success.

An actor has to read his part out to himself to get an inner voice going. He will want to act out his part with other actors to see how they will interact with him. He cannot depend solely on himself, even if he just has a monologue. The director is there to give cues but some don’t say anything, letting the actor fend fend for himself. Ideally the director and actor should work together so that the director’s vision is respected.

The action of the play centres on Henry’s military campaign in France (English invasions of France occurred on numerous occasions and was recognised as a sensible means of providing an external threat which would unite an often fractious country). The campaign starts with the siege of Harfleur, at which Henry delivers the ‘once more unto the breach, dear friends’ speech and continues until the victorious battle of Agincourt (1415), when a small but professional army of English troops, many wielding the longbow, defeated a much larger army of French knights and aristocrats, who conveniently abandoned all common sense and charged straight at the enemy and into a boggy field, remaining stuck there while the archers shot most of them. Sub-plots include the response to the murder of prisoners-of-war and Henry’s attempt to court the French Princess Katherine and thereby unite the two countries with love as well as war.

At the same time, Henry’s army is accompanied by a variety of underclass troops including Nym, Bardolph and Pistol, who recall Hal’s days with Falstaff and his crew. While these characters engage in some rather tedious stage business and buffoonery, Henry has speeches which integrate them into the country and its success as a whole, particularly in the lines beginning: “We few, we happy few, we band of brothers.”

Henry V shows multiple views of warfare, using language rather than actions on the stage because of the limitations of the Elizabethan stage and its technology. Warfare is shown both in its positive, glorifying aspect and in a more realistic aspect, in which atrocities are committed against the military and civilians alike. Meanwhile, although Henry is apparently admitting his humble companions to become part of his family, he wastes no time in acquiring the princess Katherine and buttressing his position and the position of the aristocratic elites as a whole by taking advantage of French state power.

John’s poor reputation is not entirely fair, even if it has not been helped by the widespread belief (among royalists, anyway) that the name is cursed and so there has never been and presumably never will be a John II. In truth, he suffers in comparison with his brother, Richard I or Richard Lionheart, who was a great military hero and conqueror of the Holy Land (not everybody sees it that way, of course) and remained in Central Europe as a hostage for a number of years. It is certainly possible to argue that Richard’s overseas adventures were not helpful to his country and required his brother John to collect unpopular taxes to support the military effort.

The play itself seems to reflect the situation in which the eponymous king found himself. The action concerns the machinations between the ruling elites of England and France, with other powers also represented, including the Pope (bearing in mind that England was a Catholic country prior to Henry VIII’s split from the papacy). John is challenged by the Bastard, Philip who turns out to be a son of the Lionheart. Allies are sought, wooed and lost and the principals are killed in the action – Philip falls off a castle (which has an obvious symbolism), while John is murdered by a disgruntled monk (likewise). The action, with its pageantry and intrigue among the great powers of the time, was popular in the centuries after it was written but the taste among more modern audiences has changed. Consequently, the play is regarded, if at all, as a fairly pointless exploration of the non-productive squabbling of aristocratic elites. Of course, this being Shakespeare, much of the language employed nevertheless rewards consideration but there are greater rewards to be had in the other plays.  

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Advertising

Everywhere you see adverts, you see models too. Think about the wide range of people who appear on packaging, billboards, television and the internet in advertising campaigns, and you’ll realise how big a market there is for the individual looks of different models. A range of different people are needed to advertise interesting products every day!

Film/TV

If you’re interested in acting but have never had any training, film and TV modelling can be a great way to get into the industry without going to drama school or spending thousands on coaching. Even if you’re not interested in pursuing an acting career, it’s possible to have a rewarding and exciting vocation in this kind of screen modelling by itself.

Fashion & Catwalk

This is the most exclusive and highly publicised area of modelling. From catwalk to high-end magazine spreads, this is where models like Daisy Lowe and Kate Moss make their money. It’s also the most difficult part of the industry to get into, and can be both the most rewarding and the most upsetting. Make sure you’re well informed about what a fashion catwalk career might entail.

Photographic

Photographers, catalogues and magazines often hire models just looking for photographs of men and/or women performing tasks, looking natural or posing in a particular way. Photographic assignments are generally very model-oriented and can be lots of fun once you get the hang of following a photographer’s direction and getting into character!

If you’re interested in modelling and don’t want to restrict your options, it’s best to be open to all of these different types. Equally, though, if you are able to establish yourself in one area of modelling that you enjoy, don’t feel you have to take every assignment you are offered if you don’t feel comfortable about it. Decide what appeals to you, and then look for a modelling agency you feel comfortable with.

Image via Wikipedia

If you’re a new model, your first few assignments will seem exciting, but also a little daunting. You’ve done the hard part – you’ve become a model and booked an assignment – but now you need to make sure you perform as well as you can. These ten tips will help you do just that!

1. Be natural and relaxed. Film or photography of models who are completely at ease with what they’re doing always look the best. When you have a shoot, make sure you are calm, comfortable and stress-free before it starts – five minutes spent making sure you’re in the right frame of mind can make the difference between a good campaign and a brilliant campaign!
2. Ask questions. Before a shoot, make sure you put any questions you may have to your agency. Sometimes there won’t be opportunities to ask questions on the day of the shoot because everybody is so busy, so it’s best to make sure you’re clear on everything beforehand.
3. Enjoy yourself. Remember that modelling should always be about you having fun, experiencing something new and taking pleasure in the whole process of working as a model. If it begins to get too much, re-evaluate the way you are approaching it psychologically. Are you taking things too seriously? Are you putting yourself under too much pressure? Attitude can be just as important as looks, and it’s essential to approach modelling with a light, positive attitude as well as commitment.
4. Know your product. If you are modelling for a marketing or advertising assignment, whether it’s a top high street fashion chain or your local supermarket, make sure you know what your photographs or film footage will be selling. If you engage with the task in this way, you’ll impress everybody on the shoot and feel a lot more relaxed with an understanding of what is going on.
5. Follow instructions. When you’re working on a shoot, even if you’ve modelled before, there are a lot of other people around who know much more than you do about what’s going on and what’s required. If they advise you or ask you to do something, make sure you are attentive and follow their instructions to the letter. This is especially important with photographers or directors – they know the kind of image they want, and you need to be able to adapt to suit them.
6. Get into character. You will often be required to act in a particular way, or to pose as if you were doing something specific. If you are asked to do anything that requires a little imagination, make sure you do a good job and are comfortable and not too self conscious getting into that extra special role. Practise pretending when you’re alone, perhaps while doing the housework – it may feel silly, but it’s great preparation!
7.  Be 100% focused. Catwalk models make modelling appear easy and ordinary, but before that effortless-looking catwalk show, they will have spent hours practising and preparing – mentally and physically. During your shoot, make absolutely certain you are fully focused on what you are doing and what the people around you are saying.
8. Plan ahead. Make sure that you know exactly where the shoot will be taking place, and that you allow sufficient time to arrive. It’s best to arrive 10-15 minutes before your allotted time unless you’re told you should do otherwise.
9. Be organised. If you’re asked to take additional outfits or dress in a particular way for a modelling shoot, make sure you take what is asked and perhaps a few spares just in case. This gives a professional and cooperative first impression, which is always good.
10.  Remember to smile. Even if the photoshoot itself requires a sultry pout or an emotional gaze, it helps to start with a smile on your face. When you interact with the others on set, smiling shows you’re willing to work with others and will help you quench the nerves of being at the centre of attention!

Please follow these links for more information about modeling and the modeling industry:

• To find out more about Models Direct: http://www.modelsdirect.com/.
• To find out how to become a model: http://www.modelsdirect.com/locations/worldwide.html.
• To find out how to find and book a model for your assignment: http://www.modelsdirect.com/find_a_model/index.html.

(The above picture of a leather puppet was shot in DhakshinChitra, Chennai, India. The old world charm is brought alive in this place with representations of all art forms)

Shadows are myterious and they trigger and magnify imagination. There cannot be anyone who has not enjoyed watching shadows in childhood. Shadows as a medium to dramatise stories was the first step taken towards making movies. Shadow plays with hands and objects created a more defined art form, the shadow puppet show. Shadow plays have not been given up and it is practised with astounding skill  by some.

The shadow puppet show is an interesting art form in India. It has evovled independently in every state and stories with  religous and historical  themes is presented by the artists. In South India, it is called as the ‘Tholu Bommalattam’, which means ‘Leather Puppet Show.’ The puppets are made of leather, processed for a few days, made very thin and translucent. The leather is perforated in some states and not perforated in others. The leather of animals like goat and deer are used depending on their availability.

The show is normally performed in the open with tightly stretched white cotton cloth between bamboo poles, serving as screen. The light source is kept behind the screen. In the old times, oil lamps were used and with the advent of electric bulbs, they have taken the place of the oil lamps. Behind the screen are eight to ten artists with musical instruments, mostly harmonium, cymbals and drums.

The puppets are made with joints at their necks, shoulders, elbows and knees. The puppets which are made to dance, have their hands, feet and waist made movable with joints. The puppeteers manipulate them with thin bamboo sticks and leather strings attached to them. Only profile of the puppets are dipicted and perforation for eyes of the character shows bright white in the shadow figure. Ornaments are also made by perforations. Vegetable dyes were used in those days to colour the puppets bright. Nowadays other kinds of dyes are also used. The shadows of the puppets appear colourful on the screen. In some states black and white shadows are presented. Apart from human forms, demons, spirits, animals, plants and trees are also made for the shows. Arms and ammunition are made and are joined to the hands of the puppets to make warriors. Sometimes the same puppet is made to perform two or more characters by changing its attire and ornaments.

A particular group in the society performed this art but later on other interested persons also took it up. Women do the manipulations in many states. The artists are literate and possess knowledge in scriptures. They are trained in music, both vocal and instrumental. There is  the narrator and comical characters who appear in all the plays. They make the puppets walk, dance and fight with their skillful manipulation. The techniques of manipulating are taught from childhood. The temple trustees being the patrons for these shows, during temple festivals and other religous functions shadow puppet shows are performed.

This is one of the folk arts that has stood the test of time.

Link to original source

Ta shu hua, loosely translated as “beating the flowers of a tree” is performed by scooping up molten iron with a specially prepared ladle and throwing it against a wall. This tradition, which has a 300 year history came about as in olden times, common folk could not afford fireworks to celebrate Chinese New Year, and so metalsmiths came up with a cheaper alternative , ta shu hua

Link to original source

As ta shu hua is performed with molten iron, which can reach up to 1300 degrees Celesius, the performers have to take special precautions. All performers wear a hat (which has been soaked in water prior to the performance) and a goat skin coat. The ladle they use, which is made of wood, has to be soaked in water for at least a day, to ensure that it won’t catch fire during the performance. 

Link to original source

While initially, performers only used molten iron, it was discovered that different molten metals gave off different coloured sparks and so eventually other metals were included. Molten iron give off red sparks when thrown, molten copper give off green sparks and molten aluminum give off white sparks. The end result is a dazzling multicolored display.

Link to original source

For those who are interested to see more, here’s the link to a video of a ta shu hua performance. They’re conversing in Chinese in the video but you don’t really need to understand Chinese to watch the performance.

http://www.tudou.com/programs/view/RRwnGWobQeo/

What you’ll need

1. A torch of some kind (I used a ripped cotton shirt on a strong stick)
2. Corn Starch (for best results)
3. Powdered Sugar (If you don’t have corn starch)
4. Fire
5. A bucket of water or hose (just in case)
6. Something to drink

Instructions

First, you tie the flammable material to your stick near the opposite end that you hold the stick by.  Your torch handle should be about 2 feet long.  Once ready, ignite the material at the end to make sure it burns (you might want to put some gasoline on it for a really good flame, but be careful.)  Make sure your torch is burning strong enough so that you cannot blow it out

Next, with your torch burning at an arms length away, fill your mouth with whatever your using your fire source (corn starch, powdered sugar, or a mix of both.)  With the torch held away from your face at about a 45 degree angle, spray the powder from your mouth as fine as you can into the flame.  You may want to practice this to make sure you have a spray technique before you try it with fire.

The powder will ignite as soon as it hits the flame, and will erupt in a ball of fire in the air.  Watch out for molten sugar if you decided to use powdered sugar!

If you plan on using corn starch, beware that it dehydrates your mouth entirely.  That’s where the drink comes in handy.  When I first did it, I had no drink and the corn starch made me throw up, not a pleasant experience!

Side Notes

You may be weary about doing this.  Both powders are only flammable when highly oxidized, so there’s not much of a chance at all that fire will reach you in any way.  But, like you were taught in elementary school, keep a buddy around in case you hurt yourself.

Like Ventriloquists? Then you will love this guy. Read on to find out more about the crazy world of Jeff Dunham.

Jeff Dunham is a Comedian Ventriloquist whose acts are like nothing you have seen before. His acts are all over YouTube and have 5 star ratings across the board which he completely deserves.

He has a host of characters at his fingertips and all of them are unique in the field of ventriloquism. Here they are in all their glory.

Jeff Dunham

First, the man himself. The master puppeteer. This is a guy with some amazing talent. Audiences just can’t believe he’s talking instead of the puppets. He has become a hit all around the world thanks to www.youtube.com and has developed over the years he has been performing into an outstanding Ventriloquist.

Peanut

Peanut is the argumentative one who always makes fun of anything and everything. He always has it out for Jeff Dunham and likes to take the rise out of Jeff Dunham’s name by saying “Je Fa Fa Dunh Ham” because Jeff’s first name has an unneeded f. Peanut is always hyperactive especially at the beginning of a show where he loves to talk and laugh.

Walter

The grumpy old man. He always has something to moan about and likes to be cynical about everyone and everything, including the camera men, calling them the CIA. He wants to work as a greeter at Wallmart and his greeting goes “Welcome to walmart, now get your s**t and get out……have a nice day”. Walter is a stereotype of a grumpy old man who hates his wife who nags him all the time. He doesn’t enjoy sexual intercourse with his wife so he tells her as she starts “get off” in a flat tone.

Sweet Daddy D

The “Manager” of Jeff. Sweet Daddy D is the cool guy who likes to have a joke and a laugh. He likes to call Jeff his ‘hoe’. Sweet Daddy D’s voice is a traditional stereotypical voice of a ethnic Guy from the 60s (that is my view on this but please tell me your views if they are different).

Jose Jalapeño on a Stick

The Cuban jalapeño….on a stick. Doesn’t speak too much and has a kind of flat tone as if he is forever sad. His Cuban accent is ridiculed by the other puppets because of the way he pronounces certain words.

Bubba J

The stereotypical american redneck. Loves beer and NASCAR. His full name is Bubba Junior and he is married, but there is an assumption that he has a child that is not known. His reception was held at a Walmart store and it was there because as Bubba J says “It’s easier to return the gifts”. At the Walmart he is greeted by Walter who says “Welcome to Walmart…..get your s***t and get out…..have a nice day”. He has apparently been abducted by Aliens.

Melvin the Superhero

Melvin actually only has two powers and they are: the power of flight (well only as far as Jeff can throw him) and the power of x-ray vison (exept through silicone). His arch nemises apparently are Pinnochio and his wife (but only at certain times of the month when she magically turns ‘evil’). Melvin believes that Superman is a ’show off’ because he leaps buildings in a single bound and he also believes that superman ‘has problems’ because he gets his costume on in a phone booth.

Achmed the Dead Terrorist

Achmed is a dead terrorist who in one of Jeff’s acts says that he is not dead and when Jeff tells him he is all bone the reply was “It’s just a flesh wound”. Achmed’s trademark saying is “Silence, I kill you”. Achmed claims he is not muslim because he has ‘made in China’ on his ass. He has many reasons why he died such as ” a premature detonation” and “I was refueling my car and I answered my phone”. Achmed is the fan favourite and that is known by one of his videos on YouTube (shown below) which has over 66 million hits!!

Most magic books or DVDs would only deal on the methods on how tricks are done and little attention is given on the showmanship. This results in a dilemma for beginning magicians. This dilemma however could be solved by studying how to entertain audiences by proper showmanship.

Magic as we know is also a form of entertainment. The goal of magic is to entertain at the same time mystify. A magician who knows how to do the tricks flawlessly would certainly mystify others but he wouldn’t entertain them if he simply presented the tricks. Entertainment would only come if you have mastered showmanship as well.

Showmanship is important because it completes a magician both as a presenter of tricks and as an entertainer. Most magicians would agree that being entertaining is more important than to master all the tricks. Even the simplest tricks, if presented in a very entertaining manner would look much better than a complex one.

Being an entertaining magician is not easy, but here are some tips that could help aspiring magicians to become entertaining ones.

1. Mastery of the Tricks

   A good magician before he becomes an entertaining one should master how to do the tricks flawlessly. He should fully understand how his tricks work because if he does not then the chances for failure and exposing the trick would be great thus making the magician a bad magician. Also a magician should be able to do not just tricks with the same objects e.g. card tricks, coin tricks, mind-reading tricks etc. He must be able to do tricks with various objects so that the audience will stay interested as you perform.

2. Organization of the Tricks

   Once you have mastered various tricks it’s time to organize them into a routine. The first factor to be considered here is to organize them according to the type of object used. For example when you start performing a card trick, the next one should be another card trick. If you perform a card trick then a coin trick then another card trick again, the audience will find this boring and this is what you should avoid as a magician.

   The next thing is how you would organize the tricks under the same type. The easiest is to create a beginning trick, a middle trick and an end trick. Look at the tricks you could do and try to organize them which would be a good opener, a good middle and a good ending.

   A good opener should capture first the attention of your audience. This is very important because if you haven’t done this they would be bored throughout your performance. A good middle should be able to keep the audiences interested in your act. A good ending is something that should leave your audiences mystified. In order to find out which are good opening, middle and ending tricks you should start performing those tricks to your friends and family and look at their reactions and form there you could determine which tricks should be openers, middles, or endings.

3. Patter

   Patter or the talk is very important in magic. Not only it functions as a good misdirection, it also gives your trick depth and meaning. If you have organized your trick as having a beginning, middle and an end then it would be easy to create the patter needed for it.

   If you have created the patter necessary, then it’s time to practice it with your trick. Practice it alone in front of a mirror, although you might feel uneasy doing this, it is the only way for you to check if you are acting natural while performing. Practice speaking it until it becomes almost second nature to you. Doing this would make the audiences interested and entertained.

4. Rapport

   When it comes to performing you should be bale to establish a good connection with your audiences or rapport. By doing so you could keep your audiences interested and entertained throughout your act. One of the simplest ways to do it is to remember their names. This may be hard for some so here’s a tip: keep calling the name of your volunteer for three times. Here’s an example “Now Jane, I want you to pick any card you want, now then Jane put the card back in the deck. Now I will find Jane’s card in the deck…” By repeating the name three times surely you will remember the name and of course by this you could establish rapport with your audiences.

So there are some tips on how to be an entertaining magician. Remember that magic is a form of entertainment and a good magician is an entertaining one. It’s not only how you do the tricks it’s also how you perform them so that you audience will believe that your magic is real.