"I have no special talent. I am only passionately curious" - Albert Einstein

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Harry Potter and the Philosopher’s stone

Title: Harry Potter and the Philosopher’s stone

Author: J.K. Rowling

Page#: 223

Response: Harry Potter is a ten-year-old orphan who lives with the Dursleys, Aunt Petunia, Uncle Vernon, and cousin Dudley in London. Harry is basically bullied by the Dursleys. Harry is surprised to find a letter sent to him in the cabinet beneath the stairs one day. He discovered his parent were a wizard and a witch, were killed by Voldemort, and Harry got the lightning-bolt scar on his forehead. Students are assigned to one of four houses upon entrance at school: Gryffindor, Hufflepuff, Ravenclaw, or Slytherin. Harry is placed in Gryffindor and develops friendships with two other members of the house, Ron Weasley and Hermione Granger, throughout his exciting first year at Hogwarts. A three-headed dog guarding a trapdoor is discovered. Harry gradually realizes that Professor Snape, who teaches Potions, despises him and is attempting to seize whatever is hidden under the trapdoor. Harry, Ron, and Hermione are concerned that the Philosopher’s Stone is in harm, and after defeating many protection charms, Harry arrives at the room where the Stone is kept and is surprised to see Professor Quirrell there. Quirrell is unable to get the Stone from the Mirror of Erised and make Harry to attempt it. Harry got the stone and Voldemort, that has his face on the back of Quirrell’s head. Voldemort explains that he has been sharing Quirrell’s body until he can get to the Stone and revive, and the two fight for the Stone until Harry passes out. He wakes up in the hospital, discovering that Dumbledore has saved him, the Stone is to be destroyed, and Voldemort has escaped.

Engineering Project- Blogpost 2

Develop and Plan

Model/sketch your idea – sketch using multiple perspectives (by hand, ideally): label measurements/sizes, desired materials, fasteners/adhesives & techniques needed for construction

This product converts energy from potential energy to elastic energy. I will need the following materials:

  • Wood pieces x4
  • Wooden sticks x10
  • Wooden cylinder stick x2
  • Elastic band x4
  • Bottle caps x8
  • Straw x2
  • Metal stick x2
  • Hot glue
  • Saw

What techniques will you need to learn/use? How will you learn this?

I will need to use hot glue to stick the wheels and body together and stick the launcher as well, I already know how to use a hot glue gun. I will need to learn how to use a saw to make this design. I will learn this from the design center teacher, he can teach me how to safely use the saw to cut the wood in a straight line.

Make a plan for time/schedule and check/bring/ inquire about materials
EMBED/photograph/upload Models (annotated sketches) – please post it as large as your blog can view appropriately

Costume Design

Factors for Costume Design

  1. Age
  2. Gender
  3. Social Status
  4. Occupation
  5. Geographic Location
  6. Occasion/Activity
  7. Time of Day
  8. Season/Weather
  9. Historical Period
  10. Psychological Factors/Personality/Emotions

Costumes are very important when the actors or acresstess are performing onstage. They help the audience differentiate between the characters and add personality to the roles. Costume designers need to consider the factors above to inform the audience about the characteristics of the character.

Lighting design key terms

Lighting design- The concept that a designer creates to provide light onstage to support the mood or atmosphere of the play

Light plot- The map that shows where all of your lighting instruments are placed and where they will be lighting

Lighting grid- Up above the stage, it is the system of bars and electric that power the light

Lighting board- The control panel that powers the lights when they turn on and off and at what intensity

Cyclorama- The large white “sheet” at the back of the stage that can be lit of projected on

Backlight- Lighting from the back

Sidelight- Lighting from the side

Toplight- Lighting from above

Frontlight- Lighting from the front

Footlight- Lighting that is placed on the floor in the front

Spotlight- A single source of light focused on a single subject

Fill light- Light sources that add lighting in and around the set/scenery/stage- they “fill in”

Wash- A large group of lighting that can “wash” the stage in the light that you can bring up at once together

Lighting angle- The angle of the lighting instrument in relation to the subject; usually 45%

Gobo (or pattern)- A pattern (in olden days it was a circle of metal) that blocks light to give you a shape onstage

Gel (or color gel)- The color that you want the instrument to throw onstage (or light onstage)


Behind the Scenes- Julia Taymor


  1. You have to show or create a shipwreck on stage. How might you do that?

I might want to use lighting and sound for this section, for example using extreme flashing lights then a blackout to show that there was an accident. Then the sound effects behind could be sounds of waves and crashing sounds to show the shipwreck. During this time there could be people moving in the background to show panic which is also a transition that can be pieces of wood left on the ground after the shipwreck.

  1. One character in your play is a spirit. How might you have a character as a spirit onstage?

If we could, then I would use a harness so they can float around onstage. We could also use costumes like glittery or half-transparent material pieces of clothing so they don’t look alive. But it shouldn’t be too eye-catching because they are a spirit.

  1. Another character is imprisoned in a rock. How would you show a character imprisoned in a rock?

I would put the actor/actress in a cage and have pieces of rock props around the cage to show that they’re stuck inside a rock. The cage can symbolize imprisonment but the audience is still able to see the actor. Another idea could be using a special material to create a piece of cloth to put over the actor and shine a light behind them so a shillohwett can be shown up.

  1. You have to portray ‘magic demon dogs’ that are unleashed onstage. How might you portray magic demon dogs (without using real dogs)?

We could use smoke machines and incorporate lighting into this scene. By using smoke, it can seem like it has magic, colors that represent magic are possibly purple or blue, or if demon is the more significant idea then red lighting could work as well. Sound effect of dogs barking should be in the background as well. Actors could come onstage into the smoke in plain black and walk on four limbs to seem like the magic demon dogs.

  1. What elements would you bring in to create a deserted island? What would you create? Describe how the audience would know that it is a deserted island.

I think some sterotypical elements of a deserted island are palm trees, sand and water. We could use the background to emphasize on the location like putting a picture of a deserted island there. There could be some sand around the island and palm trees as props around the area.

  1. What challenges would you face when trying to create all of these elements in person, on stage, live, in front of an audience.

Some things might create some safety hazards like the spirit lift may not be as safe since they’re in the air, if the actor isn’t skilled enough, they may fall. Or some transitions would be hard to run smoothy like moving the cage for the rock or cleaning up the sand for the deserted island. Some other things might be kind of confusing like the shipwreck may not be as clear but it has to be since is probably a highlight of the show. These things might cause the props to not work as properly, or unrealistic.


“Inspiration” comes from many sources. Describe one source of inspiration for Julie Taymor when she was setting the scene for the play.

One source that Taymor got was from Mudmen of New Guinea.

Describe one moment where you went “a-ha!” or “that is brilliant!” or “I never would have thought of that!” and describe how or why that moment stood out to you.

When they were thinking about how to make the actor look like a spirit, I didn’t think about using a hand and make the actor invisible onstage. I was very surprised of how that turned out and I think it is very creative.

‘Symbolism’ plays an important part in most theatre. This is different than ‘Literal’. Pick one moment or element that was represented “symbolically” as opposed to literally and describe it.

Symbolism can be seen in this film where she find Shakepear’s “the bigger light”. She used that props to show that she thought it represented the sun.

The absolutely true diary of a part time Indian

The absolutely true diary of a part-time Indian

Sherman Alexie

End of book


The absolutely true diary of a part time Indian

Title: The absolutely true diary of a part-time Indian

Author: Sherman Alexie

Page#: 143

Response: I think the main character is in a lost state with his identity, he doesn’t have a clear goal. What is his goal?

Constantine Stanislavski

Context (Who and When…)

Born in Moscow, Russia in 1863 (died 1938)

Began as an actor and moved on to become a director and teacher

Parents did not indulge in his passion for theatre so he changed his name

Developed a new system of actor training and development- a new way to approach theatre

It took years of experimenting to get to what is now known as the Stanislavski System

The work that Stan “the man” did help to create what we recognized as ‘good acting’ today. We even give awards to actors who can create the best characters



Learning to relax the muscles and eliminate physical tension while performing.


Learning to think like an actor and to respond to one’s own imagination


Discovering the sensory vase of the work: learning to memorize and recall sensations, often called “sense memorize” and/ or “affective memory”; learning to work from a small sensation and expand it, a technique Stanislavski called “Spheres of attention”


Developing the ability to interact with other performers spontaneously, and with an audience, without violating the world of the play



Bluetooth Speaker Model

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