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A visual montage of movement from a sequence taught by Phoebe. 

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A photographic essay is a form of visual storytelling, a way to present a narrative through a series of images. A great photo essay is powerful, able to evoke emotion and understanding without using words. A photo essay delivers a story using a series of photographs and brings the viewer along your narrative journey

Documentation of movement/ a topic/theme
With writing.

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Maria Sergeyevna Kulygina (Masha) – The middle sister, she is 23 at the beginning of the play. She married her husband, Kulygin, when she was 18 and just out of school. When the play opens she has been disappointed in the marriage and falls completely in love with the idealistic Lieutenant-Colonel Vershinin.

Her personality- artistic and a little strange, musically talented and very intellectual

Her outfit- well dressed, appropriately for the 1850s

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Izzy is a young girl who experienced the terrorist attack first hand. Along with the trauma of being present for the awful event ;once searching it up she finds a picture of her dead and dismantled mother on twitter.

She is quite an emotionally absent person after the severity of trauma she endured and doesn’t really understand social cues leading to an awkward atmosphere.

In response to Ankas request to picture her as; an animal, a plant and a physical character.
Plant: water Lilly
Physical character: (above image) blonde, pale skin, curly hair, rosey cheeks
Animal: fawn, (Bambi)

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Intersectionality, storytelling and montage - How gender, race and class impact and shape storytelling.

What is a neutral stance?
Starting from a place where your physicality’s isn’t influenced by day to day life. You’re in you’re body, you’re in the space and you’re present.
(Neuter-neither positive or negative)
(Neutral stance-focus)
(Gender neutral casting- interpretation)

intersectionality Meaning;
The concept of intersectionality describes the ways in which systems of inequality based on gender, race, ethnicity, sexual orientation, gender identity, disability, class and other forms of discrimination “intersect” to create unique dynamics and effects.

Developed by Kimberlé Crenshaw in the late 1980s, intersectionality highlights that individuals are not defined solely by one aspect of their identity but rather by the convergence of various factors, such as race, gender, sexuality, class, disability, and more.

Intersectionality is a critical concept and in the realm of actor rehearsal and training approaches intersectionality represents an acknowledgment of the interconnected and multifaceted nature of human identity and social experiences. In the context of actor rehearsal and training, understanding and embracing intersectionality is essential for creating more authentic and socially conscious performances.

• Storytelling: Understanding intersectionality can enhance an actor's ability to tell more authentic and nuanced stories. It encourages actors to consider how characters' backgrounds and experiences influence their choices, desires, and conflicts, making narratives more rich and relatable.

• Inclusive Rehearsal Spaces: Rehearsal spaces should be inclusive and considerate of the diverse identities and experiences of actors. Intersectionality should be integrated into the culture of these spaces, fostering respect and open communication to create a safe and supportive environment for all.

• Character Development: Actors must embody characters with diverse backgrounds and experiences. Intersectionality challenges actors to consider the complex interplay of their characters' identities. For example, an actor playing a female character who is also a person of colour may need to explore how these intersecting identities influence her experiences and actions.

• Sensitivity and Empathy: Intersectionality encourages actors to develop a deeper sense of empathy and understanding for characters with different social positions. Training should emphasise the need to recognise and acknowledge the privileges and oppressions that come with various identity markers.

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I had the idea of staging our performance in an engaging and immersive way to create a more venerable atmosphere.

We have two stage designs, the first one the audience is part of the “therapy circle” and we openly talk to the audience members asking them “would you like some tea” in an awkward attempt to break the silence.
The second one- not shown in the above images, a small table will be in the middle to create a ‘break out space’. This allows characters to feel calmer after an overwhelming very full-on talk and also allows improv to carry on the theme of naturalism.

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Spinal roll from wall

Drop knees to straight

Inhale

Spinal rope up x2

Fall into a walk around the space space

Pick up the pace into a run

Run around space take a stance and breathe

Start ball of energy exercise

In your character explore the space with a ball of energy

Interact with other balls of energy as your character would

Start throw and catch exercise

Throw the ball of energy and follow it’s direction

END.

Start interactive warm up

Invisible string from belly button exercise.

3 sisters connect with V

Natasha and Andrew connect

Exploration of material and what that means

Metal VS string

Sisters are joined via metal chains

Where as everyone els is simply by a loose string.

Spinal connection.

3 sisters and V doing the spinal hands on back to show the feeling of being controlled and the longing of those hands following the passing of Father

Eye contact exercise.

Natasha and Andrew do the eye contact line practice

Exploring space whilst maintaining a level of connection through stare.

Hand gesture movement.

Following each others body movements through fluid flowing movement

Not mirroring, bouncing off each others choice of movement instead.

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- “Donald duck” tongue twisters

Changing volumes gradually

- throwing the sound around the circle

- Lip rolls, out to the side

- Jaw release shake, loosen our jaws

- “Big booty” game. 2 rounds?

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Lecture: investigating the relationship between camera lens and performer.

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Lecture: investigating the relationship between camera lens and performer.

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Physicalising our analysis through an exercise exploring framing, perspective, symbolism, subtextual communication and physicality.

We decided to stage this piece around the character Andrei. We used a prop; the baby as a metaphor to show him both holding onto his youth and also becoming obsessed with the idea of a ‘fairy tale future’.

Using camera lens zoom on an iPhone we shot different angles and experimented with framing. The idea behind using several different distances was to portray that from an outsiders perspective he looks perfectly ‘normal’ from afar however, the closer you get the more you notice how aggressive he is shaking said baby. This to us was symbolism that it wasn’t until you became intimate and close with the character that you understand their real struggles and feelings.

The video ends when the camera pans onto ‘the baby’ and in-fact nothing is there. We used framing and perspective to make it seem like he was holding a child but the twist is that he was just holding onto a life he could of had, yet doesn’t. We used an overhead Birds Eye view angel to declare his truth almost to show how he feels people look down on him.

Technical:
Originally when staging the scene we wanted to include multiply subject framing however we soon decided that single subject framing would be more effective to create the intended reaction. We wanted Andrei to seem lonely. We also specifically positioned him centre stage to avoid any distraction creating a main point of focus, we also decided white walls would be effective to keep the audience focus.

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“It's a play about people being people,” Davidson says. “It's a play in which almost nothing happens, but everything happens as well.”

The Seagull by Anton Chekhov is a slice-of-life drama set in the Russian countryside at the end of the 19th century. The cast of characters is dissatisfied with their lives. Some desire love. Some desire success. Some desire artistic genius. No one, however, ever seems to attain happiness.

The Setting: A rural estate surrounded by the tranquil countryside. Act One takes place outdoors, next to a beautiful lake.

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“Live theatre.”
Katie Mitchell is a British theatre director whose unique style and uncompromising methods have divided both critics and audiences. Though sometimes causing controversy, her productions have been innovative and groundbreaking, and have established her as one of the UK's leading names in contemporary performance.

She often uses live cameras to include an angle to pursue her dramatic intentions. Mitchell uses multimedia to support the set design in communicating the world and ideas of the play, and to act as a live participant in the performance with almost equal status to an actor. multimedia is often used live on stage to pick out a performer's more subtle details, eg facial expressions.

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I’m out spare time we rented out a professional camera to film our short film documenting how actors work and the challenges they face in rehearsal in a comedic way. We created a mockumentary based on the shows “keeping up with the Kardashian’s” and “the next step”.

Using the camera helped me understand how different medians could influence our work and improved my camera skill set. I really enjoy working with cameras and filming so this task was especially enjoyable.

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Mockumentaries are made for various reasons, primarily for entertainment and satire. As a group, we believed that experimentation with camera work would be a great opportunity to devise a unique piece. Based on reality television show ‘keeping up with its the Kardashian’s’ and dance show ‘The Next Step”.