HII i need to make a little character and at the end write a little suspenseful story external features
- is your character human, animal, object?
- what kinda clothing do they wear?
- how does ur character move?
- whats the first thing youd notice while looking at them from a distance ?

internal features
- what do they like to do ?
- what do they fear ?
- what emotion do they most often feel ?
- how would they respond if trapped in an elevator?

answer the following questions using complete sentences:

1. identify the main character in your suspensful story, tell me their name.
2. identify three external features of your character.
3. identify 3 internal features.
4. how would your character respond if trapped in an elevator?

Costumes are such a fabulous part of theatre – they help tell the story, they help actors get into character, and they immediately tell the audience something about what’s going on. For many student actors, receiving their costumes is a really exciting day. However, once students are actually in their costumes challenges can crop up. Many directors request that students come to rehearsal wearing comfortable clothes that they can move in. While that is useful for learning choreography and blocking, it’s less useful if the students will be wearing costumes that are not workout-gear-esque. Costumes definitely affect an actor’s performance – for better or worse. Let’s look at some ways that costumes can affect performances and character portrayal, starting from the feet and working our way up to the head.

1. Feet and Lower Body

Shoes

People walk differently in boots vs. sneakers vs. heeled shoes vs. sandals vs. bare feet.

In general, avoid wearing flip-flops on stage, as they are super noisy and do not provide good traction.

Heeled shoes can be noisy both onstage and off. Students should practice walking in them to avoid looking and sounding clumpy.

If some students are wearing shoes and some are barefoot, the students with shoes on must take extra care not to step on the barefoot students’ feet.

While this should be done before every show regardless, it is especially important to sweep the stage of any debris before the show if any of your students will be barefoot onstage.

Solution – Get your shoes early and practice with them during rehearsals.

Skirts and Dresses

People sit, stand, and move differently depending on the length and fit of the skirt. Larger and longer skirts can be a tripping hazard. Shorter and tighter skirts can impede movement.

Students frequently will try to wear older-style period skirts down lower on their hips (modern) rather than at their natural waists.

It is important that students wearing skirts and dresses wear appropriate undergarments, to avoid “wardrobe malfunctions.”

Also be sure to give special consideration to accessories such as bustles, petticoats, and crinolines, which can be noisy (lots of rustling) and make it difficult to sit down. As well, the more layers of clothing you add, the hotter and potentially heavier the costume is going to be.

2. Upper Body

Shirts

Some shirts can impede arm movement, depending on how tight or billowy the sleeves are.

Jackets, coats, capes, and shawls

How do you put them on and remove them?

Gloves

Gloves can make it more challenging to grip props (could be slippery or tight enough to impede hand movement).

Jewelry

Putting on and removing jewelry can be challenging, particularly if it is being done onstage.

Jewelry is easily lost and/or broken.

Solution – Use necklaces/bracelets/chains with magnetic clasps.

Solution – Have multiples/backups available just in case.

3. Head and Face

Hats and Headpieces

Hats fall off easily if not secured properly.

Caps and wide-brimmed hats throw shadows on actors’ faces.

Large brims can hide actors’ faces entirely.

Headpieces (such as fascinators and tiaras) can get tangled in long hair making them difficult to remove.

Wigs and Facial Hair

Wigs are in constant danger of falling off.

Care must be taken to keep wigs looking fresh and tidy.

Wigs and wig caps should not be shared between cast members.

Both hats and wigs can affect or interfere with body mics worn at the hairline or on the cheek.

Fake facial hair must be applied with spirit gum (a special adhesive), which can be challenging to put on and requires a special product to remove.

Masks and Specialty Makeup

Masks can impede actors’ vision and facial movements.

Masks also force students to emote differently, since the face is hidden.

Some masks can muffle the voice.

Makeup can pose allergy concerns.

Makeu.

Solution – Have costume team members available to assist. Be sure to practice any quick changes before technical and dress rehearsals.

Movements such as dancing, stage combat, and even sitting or standing can be affected by any of your costume pieces.

Storage

Ensure that all costumes are neatly hung up and taken care of (rather than left all over the floor or in a random pile, where they can get stained, stinky, or wrinkled.)water.

Rule – Any mending, cleaning, or maintenance needs must to be reported to the costume team immediately for them to deal with. Don’t try to fix a broken item yourself without consulting the costume team. Don’t wait until the day of the performance to speak up – it is most likely the team will not be able to do anything at that time.

Explanation:

fidelis umeh was born in nigeria and lived there through his high school years. fidelis umeh grew up with strong family values of the traditions of the ibos, a culture within nigeria. "one thing that we nigerians, particularly the ibos, have taught us from youth is the value of education. it is paramount. and the drive to succeed--my culture says that each person must work very hard and that is essential to success, which is very important. and we have support from family that keeps us going when things are difficult. sometimes perseverance can make the difference between success and failure."

he moved to the united states when he went to college. after he finished college, he stayed connected to his family in nigeria. he returned to nigeria at least once a year. but he made his home and career in this country. he became a business leader.

fidelis umeh has succeeded in the business community, which some people see as a separate culture all of its own. he planned projects. he designed systems. he brought new ideas to businesses. he has been president of a company that employs hundreds of highly skilled individuals. at the same time, he kept his commitment to his original culture.

in 1991, he founded a group to support nigerians in chicago. "i formed a group of nigerians to be an anchor for them that will fit into the american society but at the same time will give them something to fall back on in times of adversity. i feel it is a strength, it allows us to be individuals.”

“it has one goal, which is to bridge the gap between our people and the people in america. the target is to build an anchor where the nigerians can feel their identity and at the same time become more connected to the chicago scene. the problem that we have with our children is that either our children don't have an understanding of the nigerian culture or an understanding of the american culture. the focus is on children through adolescence. the adults get to benefit from the network."

“we started with story-telling. we are telling the children the stories that our families have told for generations. each story has a moral, an idea that it teaches the children. the children learn the moral. they also learn more about their own heritage. they will appreciate their heritage. they will realize that they have to work hard, too, to achieve progress.”

with more than 15,000 nigerians in chicago today, the potential is very great. fidelis umeh said that “the vision of enumbra is that the nigerian community will bring the traits that are valued in their heritage as they join the american society. they will in fact be able to enrich the american culture.”

gg

explanation: