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 Proposal Presentation By Kieran Anderson 

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What did we do?

What went well?

Challenges:

My contribution:
Skills used:
Research:

Targets:

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This image shows, the stage format we will be working with. By using chairs, we were able to visualise where audience members will be.

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When staging this scene, we experimented with an idea. This idea was inspired by a warm-up game (bombs and shields). Throughout this scene, both guards will try to hide behind each other. This will portray to the audience; they are nervous about talking to Lisa

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The idea of having an interrogation, where both guards question Lisa to find out if she has any banned items. To further engage the audience, I came up with the idea of questioning Lisa by directing our attention to the audience. When experimenting with this idea, we found out that it worked.

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In this image, we experimented with different safety posture all characters do when an attack hits. We first experimented with our arms out and head down. Immediately, we found out this didn't work as audiences could not see our faces. After some thought, we came up with the idea of having a toad-like posture. This new posture, allowed audiences to always see everyone’s reactions to the attack.

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Log 3: Protection positions + helping hand Video

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Log 3: Protection positions + helping hand Video

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This video shows, my character (Guard 2) trying to stay in the safety posture when helping Lisa. When moving towards Lisa, I decided to stay in the toad-like posture but added a shuffle walk. This represented that my character was still trying to protect himself, even when he was assisting Lisa. When my character falls over, I came up with an idea. This idea had Guard 2 twitch like a dead animal. This showed the heavy impact of the attack.

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Key words : Stage configuration, characterisation, rehearsal, dissocia, vomitoria, verfremdungseffekt effect

character

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Pitch – speaking in a high, low or natural voice.
Pace – the speed at which someone speaks
a dramatic pause at a crucial moment could merit a comment
Tone – this suggests your mood and your intention towards the listener,
Modulation is when you control or adjust something,
Intonation – the rise and fall of the voice.
inflection: change in pitch or loudness of the voice
hamartia, also called tragic flaw,
Idiosyncrasy: a characteristic, habit, mannerism, or the like, that is peculiar to an individual.

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Log 13
What did we do?

During this rehearsal, we were able to produce a full run of act 1 without scripts. One key area of improvement is our diction as it needs more clarity of speech. This is due to voices sounding monotonous. Furthermore, I used my dramatic intentions to show a clear difference between a utopian and dystonia world.  (act 1 and act 2). I did this by using Stanislavski approach to theatre of making everything natural during act 2.

To suggest the idea of naturalism during Act 2. We experimented with an idea where all actors will enter from the door throughout. Whereas, in act one non-naturalistic actors will enter from the other voms. This will represent, that Lisa is imagining the other entrances to the hospital.

A potential staging idea we may use is Brecht’s use of epic Theatre. By showing everything on stage at once. To do this we must first consider costume changes as many actors are multi-rolling. This could be achieved using a costume rail.

Challenges:
A Main challenge we faced was ensuring audiences don’t feel disconnected from our performance. This was a struggle as the energy in the rehearsal room was low. To resolve this, we used Emma Rice’s technique of playing games to further improve our reaction speed. This helped us in picking up cues. To improve this further, we must be more open to audience members. This will be achieved by utilising more space. A main struggle we faced was clear diction. This was challenging as we haven’t found unique voices for each character, this meant that the play was monotonous. This was also a struggle as improper use of inflection made every line seem like a question. This led to further confusion among the audience. To improve this, we must find words of emphasis in each sentence. This would highlight to the audience the significance of a particular line.
A main challenge I faced was understanding Biffer’s mannerisms. This was a struggle as I’m often confused with my gait and posture when performing this character. In an attempt to overcome this, we experimented by using animals to signify Biffer’s creature. We did this by experimenting with a seal. Quickly, I found out that this didn't work as I stumbled multiple times trying to match the animals' mannerisms. Another challenge we faced was diction. This was a struggle as the audiences were unable to understand what each character was saying. To resolve we must consider resilience in our voices. This is essential as we are playing with absurdism theatre. Another challenge, I faced was pronunciation, as often I would mispronounce some words or phrases. To resolve this issue, I practiced using the correct pronunciation

My contribution:
One potential idea, I had was for Lisa to choose if she wants to go back to Discossia. This could be shown at the end of the play where Lisa will have a picture of herself with Victor. In her opposite hand, she could hold the teddy Bear (Which was previously shown in scene 5). To signify her chosen choice, We could have the bear enter through a vom. This will suggest to the audience that she choose Discossia over reality.

Research:

Today, I used my research on Rudolf Laban technique to connect characters with animals. This helped me experiment with various mannerisms for Biffer. Moreover, I used my research on Stanislavski naturastic theatre. This helped me  understand how to perform in act 2.

Targets
Our Targets are to investigate conventions for epic and absurd theatre. Another target is to play with more circus archetypes. This is due to the play becoming tedious. A main goal is to understand that absurd theatre doesn’t need a reason for each action or voice change.

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What did we do?

Today, we continued to block scene 3. While blocking this scene, we realised that the guards trying to avoid Lisa began to get repetitive and boring. To resolve this, I proposed an interrogation in which both guards question Lisa. By giving this scene a purpose, we kept the play fresh and new.

During this rehearsal, we also experimented with blocking scene 4.  When blocking, we outlined our research by placing each character in line with a vom. During this time, Lisa moved between the guards and the oath taker. We used this to ensure that we did not block the audience's view.  By using more stage space, we were able to ensure that all audiences could see something on stage.

What went well:

Firstly, we continued to block scene 3, we then began to prioritise blocking scenes 4 and 5. This worked well, as we were able to stay focused and maintain high energy throughout. This had enabled us to use our time effectively. We also listened and experimented to each idea, which helped us discover which one worked best. By drawing my attention to the audience when I questioned Lisa, I was able to ensure that everyone could see my character's reactions to Lisa's responses.

How did we use our research?

Today, I was able to integrate my research on the arena stage to engage the audience. I also used my research on comedy fighting, which helped me to stage a fight between the two guards.

By using my research, we were able to remember which voms we exit and enter from. By helping us label the stage, and voms, as a clock. An example of this is the door being on vom 12 and the one opposite being vom 6. This also helps remember positioning, as we know that audiences take 3 sections.

What challenges did we face and how did we overcome them?

In this rehearsal, we faced the challenge of focusing on blocking scenes by experimenting with characters positioning on stage. This was a struggle, as we often tried to refine and perfect scenes. We have overcome this by reminding ourselves that we need to understand the positioning of actors before we can focus on characterisation. Another challenge we faced was to engage audiences by taking into account their proximity. This was a struggle, as we had to make sure we didn't block any audience's sightings. To overcome this, we experimented with different actor positions.

Targets

Our goal for next time is to focus on polishing and blocking for each scene. In order to do this, we will run scenes 1 to 5. We will then give each other feedback on how to improve blocking. Another goal is to stay focused. This will be achieved by sticking to our rehearsal goals.

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Log 4 (Wednesday 16th March 2022):

What went well?
In this rehearsal, we were able to polish blocking, which helped make every movement purposeful. This helped us understand what we had to do for each scene. We did this by working effectively and collaboratively. By ensuring there were no overlapping voices when giving feedback. We all took time to listen to everyone's ideas. This has helped us solve problems effectively. By understanding stage confederation, we were able to add more audience engagements

Challenges:

One of the challenges we faced was missing props and sets. This was a challenge, as some set designs are essential for rehearsal. An example is the bed, as some scenes, such as the lift scene, require actors to stand on it. To overcome this, we substituted the bed for blocks. Another challenge was to embrace new ideas. This was a struggle, as we were often narrow-minded. To overcome this, we became open-mined by allowing experimentation to take place. We were also faced with the challenge of engaging audiences on a round stage. This was challenging, as we weren't used to this stage configuration.  To resolve this, we added a more direct address . To further immerse the audience, we had some characters invade their personal space. An example is for the guards to lean on an audience by leaning on their chairs.

Research:

Today, I used my research on the Verfremdungseffekt and the Spass effect. By allowing some actors to invade the personal space of the audience. We could make them feel uncomfortable. I also used my circus research to experiment with ideas that fit into the non-naturalist style. By using my research on theatre in the round, I was able to immerse the audience better by using a more direct address.

Targets:

Our goal for the next rehearsal is to block scenes 6 and 7. My individual goal is to improve my timing. This would ensure that dialogue is in sync with the other guard. This will be achieved by familiarising myself with lines and cues.

My contribution

By taking the role of an audience member, I was able to give feedback to my peers when I felt bored while they performed their scene. Some of the feedback I gave was Victor to give a more direct address to the audience. I also recommended changing the staging for the lift scene. This would allow all audiences to see something. My idea was to use a circle technique that helped the audience see someone on stage. As I played my character, I was open to experimentation. This helped me find the best ways to interact with the audience.

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Log 5 (Monday 21st March 2022):

What went well?

In this rehearsal, we blocked scene 6 and started blocking scene 7. When we looked at our schedule, we realised that we are above our expectations. We originally planned to explore this scene 7 in the next rehearsal. This is helpful, as we will have more time to experiment and practice with mannerisms for each of our characters. We were able to work together through a good level of patience. This was successful, as we all listened to each ideas and suggestions. This is important, as experiment ing with new ideas helps us to find the best ways of performing our characters.  By experimenting with each idea we was able to influence other ideas for different scenes.

Challenges:

One challenge we faced was to stay focused. This was a struggle, as we had to use our time effectively if we did not use the stage space. To overcome this, I focused on ways to source props and build sets. One example is the bed, as we found it too dangerous for several people to stand on it. To resolve this, we will experiment with multiple benches or rostra stuck together. We also began drawing a rough sketch of the Dissocia door. Image shown.

Another obstacle we faced was keeping our stamina high throughout the day. This was a struggle, as we started to get tired after taking breaks. To solve this, we will conduct short but effective warm-ups after each break. This will help maintain our energy and concentration levels.

Targets:

Our goal for next time is to continue blocking scene 7. Another goal is to ensure that warm-ups are short and effective. This will help us use our time effectively.

My contribution:

By giving ideas when blocking scene 7, I was able to add comedy moments for further  audience engagement. An example is for my character to hide behind the door whilst cooking. This will give off the impression of a kitchen. I also suggested that my character occasionally peeps through the door. This will show  my character curiously tries to figure out what’s happening whist staying inside the kitchen.  This adds to audience engagement, as my character looks around at the audience when he peeps his head around the door. This would be funny, as the audience wouldn't expect it.

In this video, we tried to stage the start of the war section by letting each character try to defend themselves with an absurd object. One example is my character, who defends himself with a spatula. This comedy would represent to the audience that this act is not real, as no normal person would try to defend themselves with harmless objects.

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Log 6 (Tuesday 22th March 2022) :

What did we do?

In this rehearsal, we continued to block scene 7. In this scene, we practised staging my character (Biffer) and delivering his speech. We experimented with various noises to suggest he was talking about different topics. By using absurd noises, we would encourage audiences to laugh.  This is due to the unexpected noises. We used the idea of Biffer running onstage in black smoke to suggest he burnt the hotdogs. This helped us better understand the phrase "Habby Burnday."

Challenges:

One of the main challenges was to maintain concentration. This was a struggle, as we began to feel tired blocking scenes. To solve this, we moved away from problems that took too long to solve.

Another challenge was staging Biffer getting beaten up. This was a struggle, because I was injured while trying to use stage combat. To make the scene look more realistic, we had Britney kick the floor, but Biffer reacting in sync to give off the impression that she hit him.

An individual challenge I faced was picking up cues on time. This was a challenge, as I was uncertain when each cue line was. To overcome this, I suggested Biffer peaks his head after being called, and then walks out when he is indicated. This worked well, as it doesn't make the play look messy when I run onstage constantly.

Research:

By experimenting with long pauses when Biffer delivers his speech, it is revealed that he is nervous. This technique is inspired by Brecht's idea of Verfremdungseffekt effect. This is because the audience will awkwardly laugh to fill the silence.

Targets:

My goal is to practice stage combat and my timings for when my character collides with other actors. I will improve this by familiarising myself with each clue to achieve faster reaction times. Our collective goal for next rehearsal is to start blocking Act 2.

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Log 7 (Wednesday 23rd 2022):

What did we do?

During his rehearsal, we started blocking Act 2. First, we had an idea that the bed rotates at certain points. This would help ensure that all audiences could see during Act 2.  We quickly found out that this wouldn't work, as the bed is too heavy. This would lead to long and messy transitions. By allowing each doctor and nurse to enter from different voms, we were able to signify a different day. Throughout, we practised with different stagings to suggest mood and tension between characters.

To show the audiences that nurses are always looking. I suggested the nurses stand in the voms till lights go down. When trying this, we realised it would work.

What went well?

Today was effective, because everyone contributed with ideas and staging. To use our time effectively, some actors split into groups to further improve blocking in Act 1. This was to ensure no one got tired or bored when blocking scenes they weren't in.  This was effective, as we were able to work on two scenes simultaneously.

Challenges:

One of the biggest challenges we faced was to ensure that Act 2 scenes were naturalistic. This was a challenge, because we were used to working in a non-naturalistic style for Act 1. To overcome this, we reminded each other that we are working with a naturalistic style for Act 2. Another challenge we faced was the effective use of our time. This was a struggle, because many actors were not in Act 2, so they could only watch. To overcome this, we divided into groups. This helped everyone work actively on scenes they were in.

Research:

Today, I used my research to create naturalistic theatre. As it helped us identify the key attributes that make theatre naturalistic, which was beneficial when blocking act 2. During my performance, I also used my research on how to act in the round to influence an idea I had. This idea caused Victor to use his cane to show the audience an hour, minute and second hand.

My contribution:

I was able to contribute by giving ideas to improve blocking in the first scenes. My suggestions helped ensure that actors blocked off no audience members for a long time. I also performed in the placement of missing actors. This was intended to help actors visualise where each character will be.

Targets

Our goal for next rehearsal is to refine blocking in Act 2 and ensure it fits into the naturalistic style. Our next goal is to further perfect blocking in the first scenes of Act 1. This will allow us to focus on the mannerisms for each character, such as their movements and voice.

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Today, we began to refine blocking by adding characterisation and personality to each doctor and nurse in Act 2. We then split into groups, working on individual scenes from Act 1 to further develop our characters.

What went well?

In this rehearsal, we were able to use body language to establish character relationships. An example is using distance to suggest a lack of trust. By using levels, we were able to suggest a higher authority between characters. One example is Biffer, who is often on the floor. This represents characters having more authority over him. This is important, because it helps visually interest the audience. During this rehearsal, we managed to use our time most effectively. We did this by working in small groups, where able to work on several scenes simultaneously.

Challenges:

When blocking Act 2, I faced the challenge of ensuring it was naturalistic. This was a challenge, as I thought of some comic moments that we could add to some scenes. To overcome this, I remembered that we were working in a naturalistic style. This meant everything had to be purposeful. Another challenge was performing without a full cast. This was a struggle, as some actors were in several scenes. To resolve this, we had some substitute actors who performed as a replacement until they were available. Another challenge we faced was characters being too static in scene 4. This was a struggle, as we often waited for our next cue or dialogue. To solve this problem, we used the idea that the oath takers became toys and often malfunctioned. This gave the guards something to do, as they would have to wined them up again.

Skills used

When blocking scene four, we played with slapstick comedy and robotic movements to make the characters appear non-naturalistic. This would indicate to the audience that this act is in Lisa's imagination.

My contribution:

By taking the role of an audience member, I helped actors identify their sightlines. This enabled me to give feedback and ideas to further explore the mannerisms of each character from the perspective of the audience. To make Act 1 seem more non-naturalistic, I suggested we make the attendants act more robotic and toy-like. This helped us play with slapstick comedy. as an unexpected turning point for the audience. This would suggest they are imaginary. To add to the toy-like attributes, I added the idea of a wind-up toy. This helped to create an ensemble, as we included each character.

Research:

Through my research on naturalistic theatre. I was able to remind myself of the keyways of making it natural. For example, it's important not to add comic moments to the entertainment of the audience. In addition to using my research on the Verfremdungseffekt effect in scene three four and five. I did this by adding a comical moment. This is where my character turns around to the audience to prevent them from laughing when the Oathtaker is hit. I have also used my research on warm-ups to introduce a new focus exercise. This was effective, because I was able to make warm-ups fun, without repeating the same ones.

Targets:

My goal is to experiment more with characterisation for each character. This would help us develop and understand how we want to portray our characters. Another target is to research more about ensemble warm-ups . This would help us to stay focused throughout.

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Log 12:

What did we do?

In this rehearsal, we prioritised improving scene 7. This sense of chaos worked well, as we were able to add absurd mannerisms to each character. This made the play more non-naturalistic, as we separated ourselves from realistic gestures. During the Easter break, I conducted some research to help me better understand my character. I did this by using Uta Hagen's 9 questions and sectioning each scene based on mood, experience or change of voice or motion.

Challenges:
In this rehearsal, we faced the challenge of staying in character. This was a struggle, as we would often get out of character once we said our lines. To improve this, we added absurd gestures and gait to help actors stay in character. This also gave the impression of a non-naturalistic world. We were also faced with the challenge of working without props. This was a struggle, as we could not understand how they will affect our characters. To improve this, we need to find ways to obtain props. When we performed the Oathtaker scene, we faced the challenge of keeping the audience engaged. This was a struggle, as the audience often lost interest when everyone was static. To solve this, we added an idea that every actor would rotate like a clock. By using this technique, every audience member will get the opportunity to see every character onstage. Another challenge we faced was staying organised.  This was challenging as our props were not in designated places. To help ensure we don’t lose any props and costumes. We decided to use individual prop boxes for each actor. This will help us stay organised, as all our props/costumes will be in one place.

My contribution:

To give a purpose to the line "Queen Sarah, protect us." I suggested all the characters go into a clump, and a leading character leads the motion, such as the Oathtaker or Britney. This worked well, as It represents that every character feels a similar way. I also reminded actors to look silly and absurd onstage. This was due to actors often restricting themselves due to feeling embarrassed.

Research:

In this rehearsal, I used my research on Monty Python. This helped me acknowledge the significance of playing with pauses for comedic and awkward moments. I also used my research on absurdist theatre to help create an imaginary world .
By utilising my research on absurdist theatre, we created a circus in scene 7.

Targets:

One goal is to improve our timings to ensure some actions are coordinated for example when doing queen Sarah we must all bend down at the same time.  This is important in representing an ensemble as everyone is coordinated onstage. We will do this by practising until it’s perfected. Another aim is to start adding absurd gestures to every scene in Act 1.

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Log 10 (Wednesday 30th March 2022):

What did we do?

Today, we were able to experiment with various scenarios to help us understand mannerisms for some characters in earlier scenes. Some ideas, I proposed are shown in an image below. We then tried to refine blocking in scene seven. This was ineffective, as many actors were tired and didn't contribute with ideas. After a short break, we divided into small groups and worked on adding mannerisms to my character. We tried out a witch like gait and voice. This worked well, however, we are uncertain, due to the limited time we had to experiment.

What went well?

In this rehearsal, we were able to test characterisation. In doing so, we recognise key movements and voices, such as gait, tone, and gestures best suitable for our characters. This was effective, as we were able to combine different attitudes from various stereotypes. This was achieved through experimentation by us trying to discover our characters social identity such as  their age and gender.

Challenges:

One of the biggest challenges we faced was the effective use of time, as many actors would be unmotivated to work. This was a struggle, because it prevented us from working as an ensemble. I was able to overcome this by working with a group of actors who were ready to rehearse. Another challenge we faced was to allow experimentation. This was difficult, as we often discussed ideas and debated what worked best. This was highly ineffective, as we rejected ideas before trying them out first. To solve this, I reminded everyone to try out each idea before we decided. The biggest challenge I faced during this rehearsal was to be patient with other actors. This was a struggle, as some actors would be unfocused and unmotivated to participate. To overcome this, I took a few moments to meditate and calm my nerves.

My contribution:

Due to our lack of focus and motivation during the last rehearsal. I took leadership by taking the role of the director. I achieved this through hot-seating actors, which helped them better understand who their characters were. This enabled me to encourage actors to experiment with different mannerisms. This challenged us to think about how it would affect our gait, posture and pace. By playing with different accents, we had to consider pitch, tone and inflection.

Skills used:
In this session, we used the theatre technique of 7 tension levels. We have given priority to using this technique to find out which emotions and mannerisms are best for our characters. Frequently, I used the acting technique of hot seating. To encourage actors to fully understand their characters. One example is asking them how they felt in a particular situation.

Research:

By using my knowledge of.   7 levels technique. I was able to encourage actors to experiment with various idiosyncrasy to see which worked best. By using this technique, we noticed key gestures and modulation that worked well for a few characters. Taking this into account, we were able to create unique movements and accents for some characters. By having the guards switch moments of being scared and in control. We were able to play around with the Verfremdungseffekt effect.

Targets:

My main goal for the rest of this project is to be patient with myself and others. This is important when creating an ensemble, as patience allows us to give ideas and experiment without any conflict. Another individual goal is to consider my well-being as a performer. This is important, as it helps ensure that actors don’t overwork themselves. This is a struggle for me, as I often don't take breaks, which causes me to feel drained and tired quickly. Our aim for next rehearsal is to continue experimenting with character movements.

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Log 11 (Wednesday 6th Apr 2022):

What did we do?

In this rehearsal, we did our first stumble-through. This was successful, as we were able to complete a full run without interruptions. This was highly successful, as we were able to get feedback from someone who had never seen the play before. This was helpful, as they helped us identify when they felt confused and disconnected from the piece. This enabled us to identify what worked and what didn't. We then prioritised on ways of improving scenes to help keep audiences engaged throughout.

Challenges:

Today, we faced the challenge of missing actors. This was a challenge, as we couldn’t fully visualise where actors would be in every scene. To solve this, I stepped and performed in placement for the missing actors. Fortunately, I knew each movement and blocking for their characters. Working with missing props and sounds was a struggle, as audience members were often confused with what was going on onstage. To solve this issue, we must start rehearsing with props. By familiarising ourselves with props we will be able to find out how they may affect our mannerisms for each character.

What went well?

For Act 2 I learnt that Lisa must act in a non-natural way, while other characters must act in a naturalistic style. Whereas during the first act, Lisa performs in a naturalistic style, while everyone else performs non-naturalistically. This will represent dissociative disorder. As the audience will be able to identify the absurdity in act 1 suggesting it is a fictional world made up by Lisa. I have also learned that there is power in stillness. This is important because the scene loses its purpose when actors aimlessly walk around stage. To resolve this, we need to play with proxemics and discuss when we want the audience to focus on the dialogue or movement.

My contribution:

Today, I helped by filling in for a missing actor. This helped other actors recognise the proxemics between them and the missing actor’s characters. I also suggested some possible substitutes for a few props. This will help us familiarise ourselves with how they will affect our performance. An example is to use wrapped tin foil for hotdogs.

Research:

By using our research on the Verfremdungseffekt effect, we were able to understand that articulation is the key to the delivery of lines. This is because wordplay requires good articulation to ensure that everyone hears each word clearly.

Targets:

Our goal for next rehearsal is to give priority to creating more physical mannerisms. We must focus on this, as our constant change of diction often left audiences confused. We aim to also incorporate more stillness into our performance, as aimless walking led to much confusion and loss of focus from the audience. During the Easter break, I will section each of my scenes based on a change of emotion, physicality, voice or experience of an audience. I will also complete Uta Hagen's 9 questions for each character. This will help me understand how I want to perform each of my roles. Another target is to find better ways to create an ensemble. An example could be using physical theatre to create bombs during scene 6.

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What did we do?

Today, we continued to block scene 3. While blocking this scene, we realised that the guards trying to avoid Lisa began to get repetitive and boring. To resolve this, I proposed an interrogation in which both guards question Lisa. By giving this scene a purpose, we kept the play fresh and new.

During this rehearsal, we also experimented with blocking scene 4.  When blocking, we outlined our research by placing each character in line with a vom. During this time, Lisa moved between the guards and the oath taker. We used this to ensure that we did not block the audience's view.  By using more stage space, we were able to ensure that all audiences could see something on stage.

What went well:

Firstly, we continued to block scene 3, we then began to prioritise blocking scenes 4 and 5. This worked well, as we were able to stay focused and maintain high energy throughout. This had enabled us to use our time effectively. We also listened and experimented to each idea, which helped us discover which one worked best. By drawing my attention to the audience when I questioned Lisa, I was able to ensure that everyone could see my character's reactions to Lisa's reactions.

How did we use our research?

Today, I was able to integrate my research on the arena stage to engage the audience. I also used my research on comedy fighting, which helped me to stage a fight between the two guards.

By using my research, we were able to remember which voms we exit and enter from. By helping us label the stage, and voms, as a clock. An example of this is the door being on vom 12 and the one opposite being vom 3. This also helps remember positioning, as we know that audiences take 3 sections.

What challenges did we face and how did we overcome them?

In this rehearsal, we faced the challenge of focusing on blocking scenes by experimenting with characters positioning on stage. This was a struggle, as we often tried to refine and perfect scenes. We have overcome this by reminding ourselves that we need to understand the positioning of actors before we can focus on characterisation. Another challenge we faced was to engage audiences by taking into account their proximity. This was a struggle, as we had to make sure we didn't block any audience's sightings. To overcome this, we experimented with different actor positions.

Targets

Our goal for the next time is to focus on polishing and blocking for each scene. In order to do this, we will run scenes 1 to 5. We will then give each other feedback on how to improve blocking. Another goal is to stay focused. This will be achieved by sticking to our rehearsal goals.

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Log 4 (Wednesday 16th March 2022):

What went well?
In this rehearsal, we were able to polish blocking, which helped make every movement purposeful. This helped us understand what we had to do for each scene. We did this by working effectively and collaboratively. By ensuring there were no overlapping voices when giving feedback. We all took time to listen to everyone's ideas. This has helped us solve problems effectively. By understanding stage confederation, we were able to add more audience engagements

Challenges:

One of the challenges we faced was missing props and sets. This was a challenge, as some set designs are essential for rehearsal. An example is the bed, as some scenes, such as the lift scene, require actors to stand on it. To overcome this, we substituted the bed for blocks. Another challenge was to embrace new ideas. This was a struggle, as we were often narrow-minded. To overcome this, we became open-mined by allowing experimentation to take place. We were also faced with the challenge of engaging audiences on a round stage. This was challenging, as we weren't used to this stage configuration.  To resolve this, we added a more direct address . To further immerse the audience, we had some characters invade their personal space. An example is for the guards to lean on an audience by leaning on their chairs.

Research:

Today, I used my research on the Verfremdungseffekt and the Spass effect. By allowing some actors to invade the personal space of the audience. We could make them feel uncomfortable. I also used my circus research to experiment with ideas that fit into the non-naturalist style. By using my research on theatre in the round, I was able to immerse the audience better by using a more direct address.

Targets:

Our goal for the next rehearsal is to block scenes 6 and 7. My individual goal is to improve my timing. This would ensure that dialogue is in sync with the other guard. This will be achieved by familiarising myself with lines and cues.

My contribution

By taking the role of an audience member, I was able to give feedback to my peers when I felt bored while they performed their scene. Some of the feedback I gave was Victor to give a more direct address to the audience. I also recommended changing the staging for the lift scene. This would allow all audiences to see something. My idea was to use a circle technique that helped the audience see someone on stage. As I played my character, I was open to experimentation. This helped me find the best ways to interact with the audience.

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Log 9 (Tuesday 29th March 2022):

What did we do:

In this rehearsal, we tried to refine blocking in scene 7. This was extremely ineffective, as we faced many challenges and disagreements throughout. Despite these conflicts, I was able to work with small groups to adapt their mannerisms for their characters. This was effective, as I focused on helping an individual actor. This has helped prevent agreements.

Challenges:

A major difficulty we faced during this rehearsal was concentration and motivation. This was a struggle, as we were unable to work efficiently with low energy. I believe that this was due to our limited warm-up exercises. The reason for this is that many actors have become bored of our warm-up exercises. To resolve this, I will continue to research various warm-up techniques to keep them fresh and fun. Another challenge we faced today was the creation of an ensemble. This was a battle, as we were not focused. This led to many contradictory ideas. Which led to us not listening actively to others. To solve this, we must be open to experimentation. One way to ease tension is to do small meditation sessions, where we focus on clearing negative energy.

My contribution:

Today, I was able to contribute by identifying the weaknesses of actors and finding ways to solve them. I achieved this by taking on the role of director, which helped inspire others to become open. One suggestion I had was Victor to point at various voms to indicate a moving clock.  This worked well, as it told the story visually, not just audible.   My idea of devolution also helps tell the audience a story visual as Victor transforms into his younger self.

Research:
My idea of adding a gesture to Victor's line "the minute hand morns their losses" uses my research on acting in round theatre, as the movements suggest a clock. Clock terminology is often used when staging the theatre in the round. By using Victor's cane as a clock hand, we were able to show a moving clock on stage.

Targets:

My goal today is to find various methods that we could use to control tensions. This would be helpful, as we could use our time more effectively. I will do this by exploring Kneehigh warm-ups, which focus on creating an ensemble. Another objective is to experiment more with different theatre techniques. I will achieve this by looking at the approaches of different practitioners to theatre and finding ways to adapt it to our work.

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Log 14:

What did we do?

In this rehearsal, we first prioritised improving Act 2. Then we did a full run.  Through experimentation, we found ways to make Lisa seem hypomanic. This would show a clear comparison between Act 1 and Act 2, as Lisa is hypomanic during Act 2, while in Act 1 everyone else is a hypomanic expert from Lisa.

What went well?

To visibly demonstrate that we are in the real world. We used an idea where all actors enter from the door, not by clock movements. While each character in Dissocia enters through the voms, this suggests they are in her head.

Challenges:

A personal challenge I faced was to ensure that the dialogue between the guards was snappy. This was a struggle, as there was often confusion between lines. To overcome this, we conducted synced exercises, which helped improve the dynamics between the two guards. One of the biggest struggles I faced was to show a clear difference between my character being confident or my charter feeling unsecured. This was often unclear and inconsistent. To improve, I experimented with different postures and paces to suggest a different mood. A major recurring challenge is pronunciation. This was a struggle, as I mistakenly learned lines with the incorrect pronunciation. To rectify this, I practised several times to ensure that I could consistently say the correct pronunciation.

My contribution:

During this rehearsal, I encouraged actors to experiment rather than discuss ideas. I also suggested some ideas, for example to complete the play, to have the Bear from Act 1 peep through the door and call Lisa back into the dissocia.  I propose this, as there is a teddy bear on stage throughout Act 2.
Another idea I suggested was that my character Biffer become a conductor when the characters in scene 7 begin to sing the national anthem to Lisa. This adds absurdity to the piece, as this is unexpected for the audience.

Research:

By using my research on Brecht's theory, I understood that during Act 1 we must ensure that we do not feel empathetic, but think like our characters. This theory is based on the fact that Brecht is utilitarian.
By using my research on absurd theatre, I understood that every action does not need a reasoning. This is because their style is expected and funny. Through this understanding, I was able to give the audience a more direct address, knowing that nothing needed meaning in this style of performance.

Targets:

A collective research aim is to find a way to use Epic Theatre during act 1.  I will do this by recapping the staging for Emma Rice Wuthering Heights play, where everything was presented throughout. A collective goal is to begin rehearsing with shoes and costumes to discover how they can affect the performance of the characters.

My research goal to improve my mannerism for my character Dr Faraday is to research Dr Charles from Chicago Med. This would help me understand the gait and tone of a doctor. To better understand my mannerisms for Biffer, I will investigate Charlie Chaplin. This will help me understand how to be unintentionally funny on stage.

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What did we do?

In this rehearsal, we continued to add absurd gestures to our characters.

Today, we also produced a full run. I believe this run was poor due to the lack of energy.

Challenges:

Throughout this rehearsal, I faced an individual challenge to understand my character (insecurity guards) physically and voice. This was challenging, as I believe there's something missing for my character, as I don’t feel like my character. Instead, I feel like I'm playing an over exaggerated vision of myself. To resolve this, I should experiment with snapping personalities for my character. This would represent personalities instead of 2. This would also be comical to the audience, as my character would act like nothing happened immediately afterwards. I also faced the challenge of making Biffer’s actions seem too literal. This was a struggle, as I couldn’t think of anything I could relate to the translations, making it seem obvious. To resolve this, I remind myself that my movement doesn't need to make sense, nor do they need to relate the translations given to the audience.

Research:

Today, I was able to apply my research on brechtian epic theatre. This helped me understand that I must stay in character whilst in the voms, even if i’m not onstage yet.

My contribution:

Today, I contubied by encouraging actors not to be afraid to look stupid onstage. I did this, as many actors would limit themselves due to embarrassment. I also suggested some ideas for some characters. An example of this is Britney using a gesture like a stomp to indicate she is talking to Biffer, rather than just her calling the character. This would also convey how she’s always mad and annoyed with Biffer due to clumsiness.

Targets:

My research aim is to watch fleabag to better understand how I want to laugh as an insecurity guard. My target is to watch a House of Commons debate to better understand how the debate should happen in scene 7. During the next rehearsal, our aim is to do a full speed run of scene 7. This will help actors to pick up their cues. Another aim is to look into more extraction exercises. We must also consider using characters from commedia el dilata.

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What did we do?

Today, we did a speed run of scene 7. I recognised that my character (Biffer) needs a shaper reaction when colliding with other actors.  This rehearsal was beneficial to me, as I found something that suited my character Biffer.

Challenges:

A collective challenge was maintaining audience engagement, such as eye contact. This was a struggle, as we often collide with other actors. To resolve this, we became aware of our surroundings by being spatially aware. An individual challenge when performing Biffer’s speech was keeping audiences engaged. This was a struggle, as I focused my attention on Lisa rather than the audience. To solve this, I must use twists and turns, so that each audience member can see my character's actions.

Research:

In this rehearsal, we also participated in a commedia dell'arte workshop. Where we played various characters from this style of theatre. This was important, as it helped me recognised how I should perform my character. This was helpful, as I now understand that when performing the guards, I want to explore  il capitano for when I’m performing as an insecurity guard. This would represent that he tries to act brave and big despite the fact that he’s scared and small. Whereas, when performing Biffer, I want to explore Zannie.

Targets:

Our main goal is to be more spatially aware throughout the piece. This would be helpful when reposting to ensure that all audiences can see us in a round stage. Another aim is to play with pauses more often to suggest a personality within our characters, such as a thinking moment. Use more research on commedia dell'arte into my characters.

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What did we do?

Today, we started with a purposeful new warm-up that helped us create ideas throughout this rehearsal.  We were able to re-block some areas of scene 7 this is where we reconsidered audience sightlines and proxemics. As previously, some audience members were unable to see anything due to everything being towards one side. We were able to use elements of our play in our warm-ups. We did this by using the Dissocia anthem for vocal exercises. This helped us stay focused and use our time effectively.

Challenges:

A main struggle we faced was dominating voices. This was a challenge, as we weren't ideas weren’t listed to, this meant ideas were often rejected without experimentation. To resolve this, I constantly remained actors to allow experimentation to take place before discussing if the ideas don't work. Another collective struggle faced was picking up cues. This was a struggle to work with, as it made the play slow and monotone. To solve this, we practiced with keeping energy levels high many times, despite this being improved, this still needs some development.

Research:

I was able to use my research on creating comedy on stage to help create further comical moments to the guards scene. I did this by adding a gesture to the guards telling Lisa that ‘pants can easily be used to strangle pilots’. This is where we recreated a plane, by physicality becoming one. This links to Emma Rice's technique of making theatre for all ages. As we were able to imitate children's like behavior. By using a sound of a crash with our mouth , we were able to foreshadow the use of bombs being used in scene 6.

My contribution:

Today, I contributed by reminding actors to allow experimentation. I also remind people to stay open-minded when accepting new ideas.

Targets:

My aim is to ensure I maintain voice modulation.  Another goal is to prioritise emphasis on lines. This would help myself and audience better understand what my character is trying to say. Our collective aim for the next rehearsal is to produce a full run with all feedback considered.

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What did we do?

Today, we interviewed each other in character. This helped us better understand how each of our characters interact with each other. We then did a full run , where we were able to make shaper slapstick comedy when performing the guards. This is due to there being little delays between cues that still need some minor improvements.  Taking stage consideration, we realised we need to use more space. Today, we started  with a great warm-up by practicing with words and phrases that we struggle with. We did this by walking around the space and greeting actors with our struggling lines. This warm-up helped me significantly in consistency using correct pronunciations.

Challenges:

One challenge we faced was timings. This was a struggle as the play look messy with delays. This is particularly clear in follow up gestures this is when a character dose a action after an line. An example is 'prepare for the charge’ Where each actor moves up and down stabbing with their absurd this suggests a preparation for battle. A collective struggle was being too narrow minded. This was a struggle as some actors weren't listening to ideas or suggestions. To resolve this, myself and many actors remined each other to resolve an issue through experimentation instead of discussing.

Research:

I used my research on comedic duos to help give faster and more comical reactions. This helped make the insecurity guard more dynamic and fun to watch. Today, I also used my research on commedia dell'arte. I did this by transforming my character Biffer in to Zanni. This helped me find my posture and gait that best suited this character. By using my research on absurdist theatre I was to use randomness as a way of delivering Biffer’s speech. By considering my research on theatre in the round I was able to encourage actors to reconsider blocking for scene 7 as blocking was too centered to one side. This was effective as we restaged ensuring no audience members were blocked.

My contribution:

Today, I gave tips to actors to help them consider character emotion. An example of this is telling the performer who played Britney to get angry with Biffer. I also assisted an actor realised and understand how to walk as a businessman as often he would walk like a robot. I reminded him to not be stiff and just relax his muscles. This helped loosen up and make his movements more natural.

Targets:

A target is to clearly show an after affect when bombs hit. This can be shown by twitching, this would represent that each character is affected by the attack except from Lisa. .  Another goal is to use clear articulation to match my dramatic intention of showing a clear difference between my utopian and dystopian characters. This would be done through careful of for articulation.

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For Sierz, it might be remembered, the in-yer-face label could be applied to 'any drama'.

In 2007 Neilson reflected, with characteristic playfulness, on the reception of his early work

In-Yer-Face was all about being horrid and writing about shit and buggery. I thought I was writing love stories.

Penetrator is one of Neilson's most famous plays.

The original production, directed by Neilson himself, opened at the Traverse in Edinburgh in 1993.

In Penetrator, Neilson explores and brings into conflict several versions of masculinity each of which can be understood in relation to discourses circulating in the wider culture.

He avoids relating these'toany explicitly political agenda.

Neilson claims in his interview for Sierz's In-Yer-Face Theatre that Max is not really a misogynist.

The Theatre of Anthony Neilson voice-over has a pragmatic function in that it sets the scene. It also colours our reception of the play by placing us in sympathy with its narrator.

Neilson's preoccupation with masculine anxieties is again apparent in the play's denouement and resolution.

Neilson felt aggrieved at the failure of professional critics to grant the formal ingenuity of his play the appropriate level of attention.

In Penetrator paranoia provides a dynamic driver for the theatrical exploration of masculine anxiety. Tadge is plagued by visions of a diabolically.

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Neilson's early work quickly became synonymous with in-yer-face theatre.

Neilson has written several plays in which violentimagery features centrally. Penetrator is one example, as is Stitching.

Anthony Neilson's Normal (1991) explores the circumstances around the trial and eventual execution of the Dusseldorf Ripper. The play focuses on the experiences of Justus Wehner, the young defence lawyer tasked to defend Peter Kurten.

In Normal, the acting out of subjective fantasies proves fatal to others and is consequently to be condemned. In The Censor the acting out of a repressed sexual fantasy liberates the play's protagonist.

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Anthony Neilson is among the most consistently entertaining, compelling and experimental playwrights of our time.

Neilson was born in Edinburgh in 1967. He was the son of the actor Beth Robens and the actor/director Sandy Neilson. The 1970s was a particularly lively decade in Scottish theatre.

Neilson's commitment to a theatre of affect was concretized when he witnessed his parents' involvement in a number of key Scottish plays.

Neilson's work combines an eclectic and populist approach, with a search for emotional intensity. His work in the-new century appears more formally experimental, playful even.

Neilson's work does not often strike critics as resonant with +4 politics.

Neilson's major plays of this period are marked by an intensified consciousness of ethical dilemmas. Unlike the political theatre of the 1970s and 19805,in-yer-tace offers no alternative vision.

Like a number of contemporaryplaywrights Neilson offers representations of intense human experience. But he regularly does so with a formal inventiveness that poses a challenge to the pre-existing structures of power in which theatrical realism plays a part.

Dramaturgically and thematically, his work has addressed important questions about authenticity and reliability in experience. This book focuses almost entirely on Neilson's work for adult audiences.

The Seance (2009), which was written for young people as part of the National Theatre's Connections project, and Get Santa! (2010), created for the Royal Court as a family Christmas show.

The Wonderful World of Dissocia (2004) is Neilson's most critically acclaimed play to date.

Neilson continues to push the boundaries of what is possible in theatre. His is a distinctive theatrical voice.

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The Theatre of Anthony Neilson from one who hides appalling secrets.

the production's extensive use of darkness also supports this dramaturgy by making difference an ambiguous proposition.

As the philosopher Ray Sorensen reminds us, we may see in the dark, 'but not what we generally wish to see or in the manner we generally wish to see' it (Sorensen 2004: 457).

Neilson has often explored subject matter that seems more personal than political. His work is preoccupied with subjectiveth an social experience.

Both mix sequences of fantasy with reality.

Anna Harpin argues that realism is limited in its ability to capture unusual states of mind. When it comes to representing mental illness, realism tends to replicate dominant categories.

Dissocia made its professional Australian debut when it toured Australia.

Dissocia is among Neilson's most formally daring works. It is divided into two sharply contrasting acts. The first is frenetic, fantastical and action packed. The second is subdued and colourless.

From this point the action becomes increasingly frenetic and absurd

Dissocia is an extraordinary play. Its innovative structure and pronounced theatricality, combine to trouble received attitudes to madness.

"Dissocia was not a real place but a symptom of her psychiatric condition, but' also because its dramaturgy is so ponderous".

Ip. Neilson employs the fairly standard spatial metaphor of institutional enclosure -the psychiatric hospital- which remains a conventional societal response to'madness'.

Her constant presence underscores Neilson's positioning of the audience as sympathetic witne

First half of the play is so full of playful surprises and delights that we, like Lisa, become lost to the real world. Action becomes increasingly anarchic, but nonetheless proceeds relatively seamlessly and is often extremely entertaining.

Dissocia is usefully understood as an experiment in what might be achieved by juxtaposing different theatrical languages,as well as an examination of societal attitudes to mental illness.

Neilson's production of Dissocia began with a decidedly metadramatic moment.

Anthony Neilson's Theatre of Anthony Neilson is always trying to transform human experience into a fixed, logical and understandable or measurable thing. Neilson's challenge to theatrical realism is fundamental because it attacks the genre's epistemological basis.

In Dissocia Neilson calls into question the easy certainties through which mental illness is labelled aberrant. In Realism he utilizes similar, if not identical, techniques to trouble the easy certainties on which notions of 'normality' are built.

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I used this resource to help me understand the many ways I voice each of my characters.  During this video, i learnt the all teh points I sound consider when voicing each of my charters these include the weight (Light or strong), special quailties (direct or indirect) and timing (sudden or sustained). Utlising this method, I expermentied with a strong direct and substained voice for the guard this worked extreamly well. This helped me find out waht voice I wanted to use for this charchter.

He then explains that this voice is called a pressing voice as your pussing words out. This worked as the role of the inscureity guard as he is considing what he says however ofthen he still says the wrong thing. To show this clear change I will be swiching from substained and sudden throughout to repesent his two personities.

Focusing on creating a more desict voice, he mentions about considing diffent elements such as take in to considertion the breath (dry or brethy), age, gender,size (big, small or median), tempo (slow, median or slow), Volume, tone and articualtion. Puting all of these in motion I will have my charter have a breathy, young, male

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Create a new document and edit with others at the same time -- from your computer, phone or tablet. Get stuff done with or without an internet connection. Use Docs to edit Word files. Free from Google.

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Knnehigh theatre was founded in Cornwall by Mike shepherd. There name links to the height as kneehigh is height of a child. Thir techiues has a strong emphasis on physical theatre, combining comedy and burlesque with dance and music,.

This style uses many elements to make it uniue for example their pre show techiue where actors would intract with auindces this was used to soften audinces. In my piece we choose not use this elemnt of kneehigh teatre as it mant the aaudince would know what to expect defecting the purpose of surpries within our performace.

Their many element of their performavce is to be lager thna life. This helps emphysis a charchter types onsage such as a wicked stepmother. This is essically important for my piece as workig in roun means that we need to ensure tha we are conving our charchters messege even if their behind us. I was able to explore this by using my reseach on Comida el dilta.

Clocking was an important asspect of knnehigh as it shows the audince who each charchter is. We used in our piece by allowing our charchters to acknodge the audince. This also allowed the aduince time to laugh at our ridiculious costumes.

By allowing stage confidertion we were able help portray jkennehighs idea of direct address to the audince as we were able to connect through audince with actor posting as we could sit

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As a class, I participated in a knee-high exercise. This helped us understand to help us advance in clocking and improving audience engagement. Through this exercise, our aim was to walk around the space without breaking eye contact with the audience. We had to go around the space with our faces fixed on a chair in the audience, but still be aware of the other actors moving around us.  As we progressed, we then added more challenging attributes such as adding absurd physicality larger than life. This helped me understand how to keep the audience engaged, even if I'm not making eye contact with them. This is especially important, as working in the round means we can't look at all audiences throughout.  This technique also ties in with In Yer face theatre, as clocking uses direct address and recognition of the audience, which cause the audience to feel uncomfortable. This is shown in my entrance for Biffer, where I become curious about audiences appearances. This would make many audiences feel uncomfortable. This also reminds the audience that they are watching a performance, as no ordinary person would respond like this.

At the beginning of this project, I conducted research on how these techniques are applied. I achieved this by watching wuthering heights at the national theatre. Despite this production not being part of Kneehigh, many of their techniques are still used. This is due to the artistic director (Emma Rice) sharing a similar interest in creating preferences appealing to both children and adults.   By taking an audience perspective, I was able to identify how each technique influenced the performance, for example clocking, as it allowed me to comprehend each character. The actress I mostly connected with was... as she showed a clear distinguish between performing male and female characters showed a clear . I was interested in this actress due to her strong commitment shown onstage. This was introduced through clocking, allowing the audience to comprehend, and was clearly introduced to this new character and her attitudes. By projecting her character's emotions, both physically and verbally, she was able to make her roles ‘larger than life'. Her emotions were clearly extracted throughout her body, which meant the audience could see the charters emotion rather than just hearing it.  . For my character Victor, in the wonderful world of dissocia, there is a lot I can take from this performance, in how the actress committed to everything about her character and conveyed emotions through her whole body. To help make our roles larger than life, we played a game by Emma Rice, where we were forced to tell a story using moment. This allowed us to focus on our mannerisms, as our voice would be unclear due to the overlapping from everyone.This is essential as extracting emotions would allow audiences to understand my characters emotions even if my back is turned.

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At the beginning of this project, I conducted research on how these techniques are applied. I achieved this by watching wuthering heights at the national theatre. Despite this production not being part of Kneehigh, many of their techniques are still used. This is due to the artistic director (Emma Rice) sharing a similar interest in creating preferences appealing to both children and adults. By taking an audience perspective, I was able to identify how each technique influenced the performance, for example clocking, as it allowed me to comprehend each character. The actress I mostly connected with was Katy Owen as she showed a clear distinguish between performing male and female characters showed a clear . I was interested in this actress due to her strong commitment shown onstage. This was introduced through clocking, allowing the audience to comprehend, and was clearly introduced to this new character and her attitudes. By projecting her character's emotions, both physically and verbally, she was able to make her roles ‘larger than life'. Her emotions were clearly extracted throughout her body, which meant the audience could see the charters emotion rather than just hearing it.  . For my character Biffer, in the Wonderful World of Dissocia,  I am to going to use her to influence my commitment as a way of bring character to life. Through extracted emotions I'm able to my roles larger than life. This helps apple to actors both physically and verbally. We played a game by Emma Rice, where we were forced to tell a story using moment. This allowed us to focus on our mannerisms, in collaboration with our voice. Due to overlapping, we weren't able to rely just on our voice. This is essential, as extracting emotions would allow audiences to understand my characters emotions even if my back is turned.

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Commedia dell'ate is an Italian theatrical form that was introduced Europe during the 16th to 18th century. This style of comedic theatre emphasised the importance of ensemble acting. This is because each character requires another role to truly bring it to life. An example of this is the Zanni, as it is necessary to master to portray that Zanni is not in control.  There are many forms of Commedia dell'arte, archetypes. These are simple and easy to follow. This was important, as initially Commedia productions were performed on streets. This meant characters and plot needed to be simple. This was essential as they need to apple with working class. This was challenging as it meant different audiences would tune in at different moments. By allowing plots and characters to be simple, they helped anyone understand the relationship and emotions of each character, even if they tuned in mid performance. These included: Zanni, Pantalone, Il Doctora( the doctor), Arlecchino( Harlequin), Pulcinella, Colombina, Il Capittno and Brighella.

These archetypal characters link to absurd theatre, as both ensure not over compilate characters, allowing all audiences to understand what's happening even with no context. A key part of absurdism is to avoid a character journey, but instead to using brechian theatre to peak the intellectual response of the audience causing them to think with getting confused.

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Farce
Farce is a style of comic drama that uses violent horseplay, stereotypical exaggerated characters, and highly illogical situations. Their only aim is to evoke laughter. “Can make you marvel at the artistry and laugh so hard your belly hurts”Heinritz, review, 2010. This connotes that Farce finds ways to entertain audiences, rather than using Stanislavsky's approach of making everything seem natural.
Their plots are often fanciful, this links to absurdist theatre of nothing having meaning and therefore life not being no different to a dream. They can achieve their aims of laughter through slapstick and deliberate absurdity.  I've used this technique to provoke laughter among the audience. This is done through a series of absurd gestures, most notably seen in how I perform the insecurity guards. This reflects absurdism, which, as both styles have no concern with plot or characters, but instead uses comedy to suggest life is a joke and doesn't have any purpose.
I use elements of Farce in my performance, when I use absurd gestures, such as during the insecurity guard where I attempt to high five someone but miss. As there's no purpose behind me doing this, apart from making the audience laugh'. This also links to the conventions of absurd theatre, as a it's  pointless.

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What did we do?

In this rehearsal, we focused on commitment. We did this by interviewing each other in character similar to yesterday. For example, I interviewed the character Victor as an insecurity guard. This enabled me to become more comfortable with my character's mannerisms.

Challenges:

Today, I faced the individual challenge of tension build up. This was a struggle, as I initially thought all characters were afraid of Queen Sarah. To resolve this, I acknowledged that my character is only scared upon the initial mention on the black dog king. To show a build up I will slowly become more frustrated and annoyed after my characters intention reaction of scared . A collocative challenge was timings during collaboration scene with my scene partner during the  scene 3. This was a struggle, as sometimes lines and cues would be missed . To resolve this, I worked with my scene partner to conduct some synced since experiences, such as frantic assembly warm-up exercise of mirroring.

Research:

By utilising my research on theatre in the round, I was able to acknowledge that I needed to use more space. This would ensue, there was no blocking of audience sightlines.

My contribution:

Today, I contributed by acknowledging loud movements. An example of this is during scene 4, when the guards rotate, as shuffling was disturbingly loud. To solve this, I suggested we walk to the other side in frustration. This worked better, as it didn’t distract the audience from the scene.

Targets:

One target is to consistently twitch this would show an after effect to bombs hitting during scene 4 and 7. Another target is to be aware of projection during Act 2. As we dropped voice projection believing it's not necessary naturistic style. I also need to improve my articulation when playing the role of Dr. Faraday, this would help his professionalism in the workplace.

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I was able to use my research on the seven levels of tension to impl;emnt stillness to suggest different levels of character emotions. This created a better mononory as it created a sense of controlled chaos. I also used farce byb using slapstick comedy to provoke laughter.

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What did we do?

Today, we were able to practice with our finished stage. This allowed us to acknowledge how much space we have to play around. When producing a full Run we were able to be become more comfortable with the stage space this meant are characters were more open.

Challenges:

A main challenge we faced was performing on a larger stage. This was challenging as we were used to having a smaller stage to play around with. To resolve this, we become more aware of spatial aware. This allowed all audience members to see something throughout. We also faced a challenge of making each gesture open to the audience . This is evidently shown in scene 3 where the guards say "would". As our added action was closed of and to close to voms 6. To solve this we lined up with opposite voms. This would enable all audience members to see what action was being used. By staying in line with a vom we were able to ensure didn't block audience members. Being in a new performance space, we were encountered with another challenge of sound reverbing around the space. This caused voices to often be lost as in pervious projects sounds would bounce off the seats however in this space there is no seats. To improve this we must become more aware of diction.

Research:

Today, I used my research of stage confederation in search of finding was to immerse all audiences in our performance. This was done through me and my scene panther being near opposite vom of the stage. This helped make sure other audiences didn't feel isolated from the piece. By using my research on Kneehigh I was able to portray my characters larger than life. Making them full of energy. This was done through my commitment to both my characters posture and gait but also through my character voice modulation to suggest a clear change of roles.

My contribution:

I was able to contribute by encouraging actors to becoming spatially aware. I also suggested the idea of using more space such as the guards using opposite voms. When trying to figure out when we should start transitioning in to Lost Property . I suggested that we start to move set before Vince says Lisa "are you listening to me". This would make sense as it will give a reason to why Lisa has stopped listening to Vince.

Targets:

A target for moving forward is to ensure we have conscient diction and projection. This would help avoid the sound being lost in the large rehearsal space. Another goal is to consider audience entrances.

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What did we do?

Today, we were able to practice with a completed stage. This allowed s to arknowdge how much space we have to play around. focused on problem areas. When producing a full Run we were able to be become comfortable with the space this meant are characters were more open.

Challenges:

A challenge we faced was performing in a larger space. This was challenging as we went use to have a large stage to play around with.To resolve this, by becoming aware of spacial awearness. This all audince members see something happing onstave throughout. We also faced a challenge of making each geture open to the audice. This is shown in scene 3 where the guards say would. This action created duing the last rehesal was closed of and pplaced to far near vom 6. To slove this we could do this action in opposite voms. This would enable all audince memebrs to see what action was being implemented. By alining ourselves in a vom we were able to ensure didnt block audience members. Being in a new performance space, we were encountered with another challenege of sound reverrbing around the space. This caused voices to often be lost as in pervious projects sounds would bounce off the seats however in this space there is no seats. To improve this we must become more aware of diction.

Research:

Today, I used my research of stage confidertion in search of finding was to enure all audinces feel immersed in our performace. This was done through me and my scene pather being on opposite sides of the stage this helped make sure other audinces didnt feel issloted from the play. By using my research on Kneehigh I was able to portray my characters larger than life. Making them full of energy and enphysm. This was done through my commint to both my chartchters posture and gait but also through my charachter voice modualion to suggest a clear change of charathter.

My contribution:

I was able to contubrue by enscoging actors to becoming spatially aware. I also suggeted the idea of using more space such as the guards using opposite voms. When trying to figure out when we were going to transition in to scene due to a Lisa being on the phone with Viece . After some thought, I suggested that we start to move set before Viece says Lisa are you listening to me. This would make sense as it will give a reason to why Lisa has stopped listening to Vience.

Targets:

A target for moving forward is to ensure we have conscience diction and project to avoid the sound being lost in the large rehearsal space. Another goal is to consider audience enterences.

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What did we do?

Today, we were able produce two full runs. This was effective as we were able to acknowledge what needing improving without any disruptions. In this rehearsal, we also performed in full costume. This was the first time wearing braces for a character. This meant I initially felt uncomfortable wearing them but as time progress I became used to wearing them. We also used Meta theater by we changing moments to closer towards the bed during the integration.

Challenges:

A individual challenge I faced was showing a clear difference between my character being serious and my character acting confident.  I solved this reminding myself that absurdist theatre doesn't need reasoning for each action .Therefore, I needed to a find way of portraying a serious character during the integration , this would be done by me becoming more fierce. Another struggle was keeping audiences engaged during the integration scene. This was a struggle as we were used to using direct address to immerse audience, To solve this, I used emphasis on some banned items some banned items are non-existent. An example of this Donkey eggs this is absurd as donkey don't lay eggs. My individual struggle is to ensure I am consistently being heard by audiences. This was due to my voice often dropping off this meant the end of my sentences would be unclear. To solve this, I need to consistently emphasis ending of sentences.

Research:

By using my research on epic theatre, I was able to find a way of staying in character backstage. This was done through adding context to the guards arguing. This would then led in to my scene partner trying to ask if his vest is covering his arse.

Targets:

Our target is to consider how we will lighting in our performance. Another target is to become more comfortable with wearing costume.

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