# data[].attributes.attachment_link.title
HSFC Subsidiary Diploma Drama presents - 'Pornography' by Simon Stephens

# data[].attributes.body
Pool (No Water) by Mark Ravenhill is a dark and intense play that explores themes of friendship, jealousy, artistic exploitation, and the destructive nature of ambition. The story follows a group of artists who reunite when one of them, a successful and wealthy member of the group, invites them to her luxurious home with a pool. However, when she suffers a tragic accident—falling into the empty pool and ending up in a coma—the group's initial concern quickly turns into something more sinister.

As they document her suffering through photography, they justify their actions as an artistic exploration of pain and reality. However, underlying their behavior is deep-seated resentment, envy, and a sense of betrayal over her success. The play is structured as a fragmented, poetic monologue delivered by the collective voice of the group, creating an intense and unsettling atmosphere.

Ultimately, Pool (No Water) is a critique of the art world’s exploitation of suffering, the fragility of friendship, and the human tendency toward cruelty when faced with jealousy and failure.

# data[].attributes.body
Pool (No Water) by Mark Ravenhill does not have individually named characters. Instead, the play is performed as a collective monologue spoken by an unspecified number of performers, representing a group of artists.

The central figures in the story include:

1. The Successful Artist – A former member of the group who has achieved fame and wealth, inviting the others to her luxurious home before suffering a tragic accident.

2. The Group (Ensemble Voice) – The remaining artists who serve as the play's narrators. They express their jealousy, resentment, and complex emotions regarding their injured friend.

Because the play is designed to be performed by an ensemble, the characters remain fluid, with the text allowing for various interpretations in staging and performance.

# data[].attributes.body
Pornography by Simon Stephens is a provocative and fragmented play that explores the state of British society around the time of the 7/7 London bombings in 2005. Through a series of loosely connected monologues and vignettes, the play presents different characters, each dealing with their personal struggles and moral dilemmas in the days leading up to the attacks.

The play does not follow a traditional narrative but instead provides snapshots of various individuals, including a schoolboy obsessed with his teacher, an estranged brother and sister engaging in an unsettling reunion, a disillusioned office worker, and, chillingly, one of the bombers himself. These characters’ lives reflect themes of isolation, disconnection, and underlying tensions within modern Britain.

By juxtaposing the mundane aspects of daily life with the looming terror attack, Pornography forces the audience to confront uncomfortable truths about societal alienation, violence, and the fragility of normality. The play is raw, poetic, and unsettling, offering a deeply human perspective on a national tragedy.

# data[].attributes.body
In Pornography by Simon Stephens, the characters are unnamed and presented through fragmented monologues and scenes, each representing different perspectives in British society around the time of the 7/7 London bombings. The play does not follow a conventional narrative but instead offers intimate glimpses into the lives of these individuals. The key characters include:

1. The Sibling Pair – A brother and sister who reunite after time apart. Their relationship becomes unsettling as they engage in an incestuous act, reflecting themes of isolation, emotional detachment, and moral decay.

2. The Schoolboy – A teenage boy who admires his teacher and navigates the complexities of adolescence. His monologue explores themes of obsession, loneliness, and coming of age in an uncertain world.

3. The Office Worker – A disillusioned professional who expresses deep frustration with modern life. His monologue reveals his dissatisfaction with societal expectations and personal failures.

4. The Middle-Class Woman – A woman who struggles with feelings of alienation and the disconnect between her life and the world around her, highlighting the everyday mundanity in contrast with the looming tragedy.

5. The Bomber – One of the four terrorists responsible for the 7/7 attacks. His monologue provides an unsettling insight into radicalization and extremism, forcing the audience to confront the complexity of his motivations.

Each character exists in their own isolated world, reflecting themes of alienation, societal breakdown, and the fragility of normal life leading up to a national tragedy.

# data[].attributes.body
Attempts on Her Life by Martin Crimp is a postmodern play first performed in 1997. It consists of 17 fragmented and non-linear scenes, all revolving around a mysterious, absent central figure named "Anne" (or "Annie," "Anya," etc.), who is never physically present on stage. Instead, various anonymous voices—often undefined characters—describe, debate, and construct different versions of Anne’s identity.

Throughout the play, Anne is portrayed in conflicting ways: as a terrorist, a porn star, a political refugee, an artist, a suicidal woman, a car (yes, literally), and more. These shifting perspectives challenge notions of truth, identity, and narrative reliability. The play lacks a conventional plot or protagonist and instead explores media influence, consumerism, gender, and political violence through disjointed dialogue, advertisements, news reports, and interrogations.

Crimp’s work is highly experimental, offering directors and performers significant flexibility in staging. Its fragmented, abstract style forces audiences to question how identities are shaped by language, media, and societal perceptions.

# data[].attributes.body
Attempts on Her Life by Martin Crimp does not have traditional, fixed characters. Instead, the play is written for an unspecified number of performers who deliver fragmented dialogues, monologues, and exchanges without assigned names or consistent identities. The speakers shift throughout the 17 scenes, creating a fluid and ever-changing narrative.

The only recurring "character" is Anne (or variations like Annie, Anya, Anny), but she never appears on stage. Instead, she is constructed through the voices of others, who define and redefine her identity in contradictory ways.

Since the play does not specify named roles, directors and performers have the freedom to allocate lines and create distinct personas for different sections, making each production unique.

# data[].attributes.body
Caryl Churchill’s Cloud 9 (1979) is a satirical and subversive play that explores themes of colonialism, gender, sexuality, and power. It is structured in two contrasting acts, using time jumps and cross-casting to challenge traditional norms.

Act 1

Set in Victorian-era colonial Africa, this act mirrors British imperialist values and rigid gender roles. The characters include Clive (a colonial administrator), his wife Betty (played by a man to highlight gender expectations), their children, and various servants and associates. The act exposes the hypocrisies of colonial rule and traditional family structures, depicting suppressed desires, racism, and patriarchal dominance.

Act 2

Set in 1979 London, 100 years have supposedly passed, but the characters have only aged 25 years. The shift reflects changing social attitudes towards feminism, LGBTQ+ identities, and personal liberation. Gender roles and sexual norms are further deconstructed as characters explore their identities more freely. The play ends without clear resolution, emphasizing the ongoing struggle for self-definition and equality.

Key Themes:

The oppression of women and LGBTQ+ individuals.

The legacy of colonialism and power structures.

The fluidity of gender and sexuality.

The tension between societal expectations and personal desires.

Cloud 9 is known for its innovative theatrical techniques, including cross-gender and cross-racial casting, making it a groundbreaking work in feminist and queer theatre.

4o

# data[].attributes.body
Characters in Cloud 9

Caryl Churchill’s Cloud 9 features a unique structure where actors often play multiple roles, including cross-gender and cross-racial casting.

Act 1 (Set in Victorian-era Colonial Africa)

1. Clive – A British colonial administrator, upholding strict Victorian values.

2. Betty – Clive’s wife, played by a man to emphasize gender expectations.

3. Joshua – A Black servant, played by a white actor, reflecting colonial power dynamics.

4. Edward – Clive and Betty’s young son, played by a woman to highlight gender roles.

5. Victoria – Clive and Betty’s baby daughter, represented as a dummy/doll.

6. Maud – Betty’s mother, a conservative woman reinforcing traditional values.

7. Ellen – Edward’s governess, secretly in love with Betty.

8. Harry Bagley – A British explorer with hidden sexual desires, engaging in secret affairs.

9. Mrs. Saunders – A widowed, independent woman resisting colonial and gender norms.

Act 2 (Set in 1979 London, 100 years later but characters age only 25 years)

1. Betty – Now played by a woman, exploring independence and self-discovery.

2. Edward – Now played by a man, openly exploring his sexuality.

3. Victoria – Now played by a woman, struggling with marriage and feminist ideals.

4. Martin – Victoria’s husband, insecure and trying to embrace feminist values.

5. Lin – A lesbian single mother and Victoria’s love interest.

6. Cathy – Lin’s young daughter, played by a man to question gender roles.

7. Gerry – Edward’s lover, navigating gay relationships and personal freedom.

The casting choices and character doubling serve as a critique of rigid social norms and highlight the evolution of gender and sexuality over time.

# data[].attributes.headline
Example of Task 1- Padlet page (videos removed)

# data[].attributes.subject
Example of Task 1- Padlet page (videos removed)

# data[].attributes.headline
Task 1, vocal warm up/ report/ presentation 

# data[].attributes.subject
Task 1, vocal warm up/ report/ presentation 

# data[].attributes.body
Choose if you would like to submit a workshop, report or presentation.

# data[].attributes.attachment_link.title
Laryngoscopy of an Opera Singer - 2017 CHRISTMAS LECTURES

# data[].attributes.attachment_link.description
If you’re a new or existing voice over artist looking to get found, get heard, get hired and get PAID you’ve come to the right place! Hi, I’m Bill Dewees, successful professional voice over artist and coach. I publish new videos Monday through Friday covering everything from picking your first mic to how to land profitable VO jobs. Benefit from my over 16 years experience of working with clients including: Disney, Coca-Cola, Google, Microsoft, Warner Bros., American Express, FOX, The PGA Tour, Kellogg, GE, Eli Lilly, United Airlines, Bayer, Mastercard, Avon, Amtrak, NPR, Intel and many more of the largest and most influential companies in the world. For my voice over training resources, check out https://billdeweeslive.com/linktree Follow me: LinkedIn: https://www.linkedin.com/in/voice-over/ Facebook: https://www.facebook.com/BillDeWeesVoiceTalent Want to learn more about my Voice Over Training Program? Book a FREE short call here: http://bit.ly/bill-youtube-k1

# data[].attributes.attachment_link.title
How to Make a TUTORIAL Video in Minutes(FREE Template!)

# data[].attributes.attachment_link.description
Scripts from the BBC Radio Drama archive

# data[].attributes.attachment_link.title
3 Voice Acting Exercises To Practice In Your Free Time

# data[].attributes.attachment_link.title
What's the difference between Verse and Prose?

# data[].attributes.attachment_link.title
Singing in the MRI with Tyley Ross - Making the Voice Visible

# data[].attributes.attachment_link.title
Iambic Pentameter Explained Part 2: Variations

# data[].attributes.body
For Voice 1 and Voice 2 you have to produce a range of vocal performances (one will be the final performance)

26th- Research and Plan Podcast

28th- Run, record and rehearse podcast

5th- Record Podcast

Remember- this is still an assessment

# data[].attributes.attachment_link.readable_text
What is a podcast?
A podcast is a digital audio file, which can be downloaded from the internet and listened to on various digital devices.
They are usually a series of episodes which are personal in tone which can be highly produced, like slick expensive box sets, or as cheaper, conversational programmes.

This guide is an introduction to anyone who wants to know what's involved in making a podcast and developing an audience for it. It's particularly of relevance for anyone who is producing podcasts for the BBC.

How do I make a podcast?
Hear from industry experts as they share insights into what you should consider when making a podcast. Transcript (PDF 55 Kb)
What are the editorial issues?
Editorial standards like accuracy, impartiality, harm and offence and privacy need to be applied with the same rigour to podcasts as any other content made by or for the BBC.
The challenge of creating a podcast is to find the right balance between pushing the boundaries of creativity whilst maintaining editorial integrity.
Podcasts allow you to be:
* Honest and open-hearted: allow the listener to be part of your journey by giving them behind-the-scenes access

* Generous: create a secure environment for great conversations with talent who trust each other

* Less scripted: you can always push the boundaries knowing if you went too far it can be edited later on
BBC editorial standards: A simple guide
How do I develop an audience?

What makes a podcast a hit?

Informality

Be spontaneous, conversational and less scripted

Personal

Be intimate and engage the listener on a one-to-one basis

Community of creators

Create a sense of community by cross promoting other podcasts

Effortless stimulation

Good storytelling. Pique curiosity by having the freedom to say what you want

Format

If you're considering producing a podcast there are a few tips to keep in mind:

Podcasts are listened to from the beginning, as opposed to someone dipping in part way as they might for a radio programme. This allows you to tell more complex stories

With people listening to podcasts on headphones the edits you make to the audio can be more complex

You can build huge audience loyalty. If people are engaged they tend to stick with a podcast and stay subscribed to it

Text

The title and description should be enticing to pull in new listeners. The first sentence matters the most. To achieve this you need to:

Identify the keywords that will enable people to find your content

Add the keywords or phrases to the title and description to help search engines pick them up Example of titles / descriptions:

BBC World Service Tech Tent podcast "Your weekly status update on the technology business with Rory Cellan-Jones" From the Serial and This American Life: S-Town podcast "S-Town is a new podcast from Serial and This American Life, hosted by Brian Reed, about a man named John who despises his Alabama town and decides to do something about it."

Image

Here are a few tips to consider when selecting an image for your podcast:

Make sure you have a grabby visual

Differentiate and individualise the podcast image rather than by network branding

Think about how the image is integrated as part of your greater digital brand

Make sure the image stands out as most third-party websites have white backgrounds

Think about the size, prominence and colour of BBC branding

Think about rights as the image will be displayed on third-party websites

Consider the cost involved when commissioning graphics

Audio

To ensure your podcast sounds like a podcast you must:

Speak directly to listeners

Be vulnerable, informal and humble

Add a sting to your podcast for attribution

Don't assume people know your presenter or programme, add introductions to welcome new listeners

Thank people. Ask for reviews and recommendations in your outro

Trail your podcasts on other podcasts and trail back. Repetition is OK as podcast listeners are used to it

Use music to signpost how the listener should be feeling

# data[].attributes.attachment_link.description
A podcast is a digital audio file, which can be downloaded from the internet and listened to on various digital devices. They are usually a series of episodes which are personal in tone which can be highly produced, like slick expensive box sets, or as cheaper, conversational programmes.

# data[].attributes.attachment_link.title
How to Write a Podcast Script [8 Free Script Templates]

# data[].attributes.attachment_link.description
Creating a script for your podcast episodes helps prepare you for recording sessions and makes it easier to communicate your message. In this guide, we break down the essential elements of a good outline and share template options so you can create your own podcast script!

# data[].attributes.body
In groups of 1-4 (Max of 4 due to the microphones) create a Podcast on the theme of - A Global issue-

Group size 1-4

Topic- identify a current global problem, set out what needs to change and tell us how they would change it.

Length- 5-20 Minutes

Research- You will need to research the topic so the information is accurate

Script- You may chose the script format, completed scripted, prompt, interview, Q&A, Roundtable

Improvisation- Completely improvising will not work, you will talk over each other and it will become a mess

Timing- someone should keep and eye on the time. spilt sections up into different timings. Remember its voice recorded not videoed

# data[].attributes.headline
Capitalise The Craft- Jack, Matt and Billy

# data[].attributes.subject
Capitalise The Craft- Jack, Matt and Billy

# data[].attributes.body
Host- Jack

Lack of funding in collegs- Matt (5 Minutes)

Lack of government, universities and colleges funding because it isn't a primary subject as it goes elsewhere. Privileged people with wealthy parents are more likely to get more money. The government splits the funding between schools and colleges, principle budgets the money between the departments and isn't fair to us. Public grants. Fund raising events, selling tickets for a percentage of money. Student fees.

Sponsorship and self-funding- Billy (5 Minutes)

Most theatre company's struggle to get funding from the government unless it is an established theatre company already however how can a theatre company become established unless they have help from the government.

Cost to make a performance- Jack (5 Minutes)

The price of staging, Props, costumes and venue hire.

# data[].attributes.headline
Why does an industry historically shaped by LGBTQ+ individuals still harbor transphobia and homophobia?

# data[].attributes.subject
Why does an industry historically shaped by LGBTQ+ individuals still harbor transphobia and homophobia?

# data[].attributes.body
Main Topic: How Can a Queer-Dominated Industry Like Performing Arts Be Filled with Transphobia and Homophobia?

Queer-baiting in Theatre & Film: Genuine Representation or Just Selling Rainbows?”

Examples of famous queerbaiting in musicals and movies.

Is there a difference between queer-coded characters and outright queer-baiting?

How does queerbaiting affect LGBTQ+ audiences and aspiring queer performers?

- Are LGBTQ+ performers and creatives celebrated only when they fit a certain mold (e.g., cis, white, conventionally attractive)?

- Are older industry professionals contributing to a culture of homophobia/transphobia, or is it coming from multiple generations?

- The community use of fetishisation of queer couples/story’s. Cancelling queer shows/story’s (specifically sapphic/wlw) whilst mlm story’s are more mainstream.

# data[].attributes.attachment_caption
Suggestion- In Easter Holiday One of the following dates

# data[].attributes.body
April-

Monday 14th

Tuesday 15th

Wednesday 16th

Wednesday 23rd

Rehearsal 10-4

# data[].attributes.headline
Task 1, vocal warm up/ report/ presentation 

# data[].attributes.subject
Task 1, vocal warm up/ report/ presentation 

# data[].attributes.body
Choose if you would like to submit a workshop, report or presentation.

# data[].attributes.headline
Example of Task 1- Padlet page (videos removed)

# data[].attributes.subject
Example of Task 1- Padlet page (videos removed)

# data[].attributes.body
You may produce the following task in any format, a word document, a presentation etc.