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In today's lesson we were introduced to our FMP. We had got our scripts and sat next to each other in a circle, we all picked characters that we wanted to read and read the whole script to each other to understand the story line fully

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In this lesson we had our auditions for the character we wanted to play. We had approximately 45 minutes to learn a part of the play, we choose and learn the lines. I had chosen the character jess because I felt when we was reading the script as a class I felt most comfortable being that character. Then we all sat in a line and watched everyones audition.

Jess was a character that stood out to me because she was a girl that was a talkative, bubbly, outgoing and very to herself which is me as a person in real life. Knowing that I had to audition for the character Jess i was extremely excited and confident that i would be able to put my full effort in whilst practicing my lines.

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Dramatic theatre is when a play tells a story that feels real and emotional. It usually has characters going through some kind of struggle or conflict, and we watch how they deal with it. The story is clear and often has a beginning, middle, and end. It’s the kind of theatre that makes you feel something- whether its’s sadness, tension, laughter, or connection.

It’s’ all about people, emotions, and situations that we can understand or relate to. The characters speak(mostly through dialogue), and the audience gets to see how things change for them by the end. It doesn’t have to super realistic, but it usually tries to say something meaningful about life or human nature.

Key Characteristics:

Mimetic:

Dramatic theatre seeks to imitate real-life situations and human behavior.

Totalizing:

It creates a complete and believable world, complete with characters and plot, encouraging the audience to suspend disbelief.

Linear Narrative:

Events follow a chronological order, leading to a clear beginning, middle, and end.

Emotional Engagement:

Dramatic theatre aims to create a strong emotional connection between the audience and the characters and story.

Character-Driven:

Characters are often well-defined, with specific backgrounds, desires, and motivations.

Closed Logic:

The events in the story are explained and have a clear purpose, even if the narrative jumps in time or location.

Examples of Dramatic Theatre:

Shakespearean plays:

Works like "Hamlet" and "Romeo and Juliet" are classic examples of dramatic theatre, featuring complex characters, emotional narratives, and a clear story arc.

Realistic drama:

Plays like "A Streetcar Named Desire" by Tennessee Williams, which focus on portraying real-life situations and character interactions, are also considered dramatic theatre.

Modern plays:

Many contemporary plays, including those exploring social issues and personal relationships, still rely on the conventions of dramatic theatre.

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For this lesson we started to work on the first scene of the play. We started to think about what the setting and the layout on stage will look like. we opened up the scene with a campfire and Marco sleeping on the floor in front, Jess(me) and the other characters are huddled up behind them under an umbrella and went through the scene successfully.

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In today's lesson we moved on from the first scene to the second scene and worked on it. In this scene jess is talking to Kiara about her feelings towards Marco. We came with this scene on the spot then got told to learn our lessons during the half term

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Scene 1: All the characters are deciding who's going to tell Marco to leave as they feel offended by what he has said.

Scene 2: Kiara and Ricky pumping up the mattress waiting for tamer to get back from looking for Marco. Alish and Chris join the campfire and tell their stories. The group find out that the drugs are mentos.

Scene 3: Marco is suffering from hypothermia and is about to take his clothes off but then Anoushka comes running to him and tells him to stop. They have a conversation and catch up with each other.

Scene 4: Ricky, Jess, Kiara and carl are all huddled under an umbrella. Carl wants to leave and drive home. Tams been gone for 3 hours. Jess suggests going to look for Tam. Jess becomes very sensitive to the fact that Marco is gone. Jess and ricky have a little disagreement.

Scene 5: Noush talks about Marcos friends of how they are not good people. They also talk about the location Beachy Head. Then Marco thinks Noush is going to kill herself and tries to stop her.

Scene 6: Was taken out.

Scene 7:  Noush gives marco a tea and it makes him hallucinate and sees this big moth appear. Then proceeds to get upset with Noush because he wants to know what's in the tea. Noush explains that Marco is seeing his inner self. They discuss what's real and what's not real.

Scene 8: The group sit on blankest, ricky plays the ucalaly and jess, tamer and kiara listen and sing. They are wrapping up their camping stuff. They are questioning who's going to drop off Marcos's tent. Jess tells a a story about a group of Russian students that go camping and go missing.

Scene 9: Ricky, Jess and tamer are all sleeping and Marco makes a return and goes and troubles Ricky in his sleeping bag to the point where he starts rolling towards the cliff.

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1. Is pushing Ricky off the cliff premeditated?

I don’t believe that Marco would want to intentionally go and push Ricky. I think it was more for the fact that how the group kicked him out so easily and did not care after.

2. If it isn't, where does Marco get the padlock?

Im not too sure.

3. Is Marco intending to scare Ricky without the intention to kill him?

100% as a retaliation of how the group made him feel.

4. Does Marco want to rejoin the group?

I think yes at first he wanted to but after time went on he just felt rejected and didn’t want anything to do with them.

5. Is Ricky Marcos main obstacle?

I believe so

6. Is Marco just trying to silence Ricky?

No Marco just wanted all his friends to have fun as they had just left school and wanted to celebrate

7. Is he testing the rest of the group to see if they will rescue Ricky?

Im not 100% sure

8. Is Marco motivated by the humiliation of being found semi-naked, which is terrible for a teenage boy?

I think that played a big part for Marco but doesn’t define the fact that the way his friends treated him.

9. At the start of the play, Ricky drags Marco in his sleeping bag; is this tit for tat?

It can definitely be that as Marco may of wanted to show Ricky what it felt like being woken up out their sleep.

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In this lesson we had worked on our movement scene for when Marco had seen the moth when he had sipped his tea that Noush had given him.

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For this lesson we had been rehearsing the first scene over and over to make sure we had this scene down as perfect as possible as it was the scene that will most get the attention.

In this scene we started off with a campfire starting in the middle of the stage with all characters besides Marco huddled backstage, whilst Marco is at the front sleeping on in his sleeping bag. we had come up with the starting successfully which made it easier for us to move onto the next scene.

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In this lesson we was focusing on Noush and Marcos scenes. Whilst they was doing that I was rehearsing my lines over and over and mainly scenes I wasn't too confident with.

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As they was working on the first scene i was on the side lines practicing my lines

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Noush and Marco going over their scene

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Rehersing scene 9

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We was deciding what to do to foreshadow the ending

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Here we are going over scene 4

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Finalising scene 9

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This was our set for the play

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This was our first tech rehearsal

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This was us on scene 4 for our tech rehersal

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Here is our movement scene that we had been working on over the days and it had finally come to being perfect.

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Here is us at the start before we break out into character to go into our play.

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This is the first scene. I was not seen in this as i was performing at 7 this was the 3pm people practicing. Even though i was not on stage i was backstage still looking for what i had to improve on.

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Heres Marco and Noushs scene(5)

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In this lesson we had focused on completing a scene in lesson but we had ran through the full play from the beginning and went through all the scenes we had done before to make sure we was comfortable and consistent. We could’ve had a better run through if everyone knew their lines but we still done the best to our ability. It had also taken us longer to have a run through as people were getting distracted easily and not staying in character hut this did not stop me from rehearing to my full potential.

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What I mainly found interesting about this play was the beginning and end. It was like a circular structure. So it started off with Marco being dragged out of his sleeping bag by Ricky, then end with Ricky being dragged out of his sleeping bag by Marco. I found this really creative as most plays don’t really have this type of start and end.

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this lesson, we focused on enhancing our movement work to better express emotions and tell a story through physical actions. We explored how to effectively use space, timing, and coordination to create a performance that is visually dynamic. I also practiced Scene 7, where I worked on delivering my lines with emotion and clarity, remaining fully in character and reacting naturally to my fellow performers. This process helped me develop both my physical expression and acting abilities. When discussing the Dylov incident, I used improvisation to continue smoothly even when I couldn’t recall the entire paragraph.

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In this lesson, we developed the movement scene by polishing the choreography, especially in the dance and drinking part. We worked on making our movements more in sync and more dramatic to better show the change in mood as the characters loosen up and the atmosphere becomes more wild. By using more defined movements, varying our body levels, and expressing emotions clearly through our faces, we made the storytelling more captivating and easier for the audience to interpret. These changes help communicate the emotional shifts and evolving dynamics between the characters through body language alone.

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During this lesson, we started working on Scene 9. We began with a read-through to get a better grasp of the characters’ motivations and emotional changes throughout the scene. After that, we moved on to blocking, trying out different movements and stage positions to highlight the tension and conflict—especially in the part where Marco pushes Ricky. We also paid attention to how we used our voices and timing to create a stronger dramatic effect. This first stage of rehearsal gave us a clearer understanding of how to bring the scene to life and effectively show the audience the emotions behind the characters' actions.

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I really believe "Kiss, Marry, Push Off Cliff" is the perfect title for the play. It captures the essence of all the emotions and relationships explored. "Kiss" represents the kiss between Marco and Kiara, and also the dynamic between Carl and Kiara. "Marry" obviously refers to the relationship of Carl and Kiara. Lastly, "Push Off Cliff" is like a symbolic ending for Ricky, suggesting he's being pushed out of the picture.

In terms of the planning and production, scene 4, the umbrella scene, was a blast to perform and really funny. The tension and feelings between Ricky and Jess during their argument came across well, and the lines made it super comedic. It was definitely a fun scene to act out.

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In this lesson, we ran through the entire performance from start to finish. This gave us a chance to see how each scene linked together and how the show flowed as a whole. It helped us identify parts that needed work, like timing, scene changes, and keeping our energy consistent. We also concentrated on maintaining our characters and responding genuinely to what was happening on stage. Doing the full run helped boost our confidence, build endurance, and gave us a clearer idea of what the final performance will feel like for both the actors and the audience.

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In this lesson, we did another quick run-through of the entire piece. It was a great chance to bring together everything we had rehearsed and see how smoothly the story played out from beginning to end. One of the strengths was our teamwork—we supported each other really well especially during fast scene changes and emotionally charged moments. To improve further, we could focus on tightening the timing between our lines and making sure our physical presence remains strong, even when we're not talking, so the audience stays fully engaged throughout the performance.

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In Despina’s lesson, we focused on running through the two movement scenes. This gave us a chance to sharpen our physical storytelling and make each scene’s message clearer through body language and timing. We concentrated on making our actions more accurate and expressive—especially in the dance and drinking section, and in the second movement piece where Marco starts to feel uncomfortable. We also chose to add a new movement scene at the very start of the play, based on a leavers’ day theme, which added a sense of realism to the overall performance. Going over these scenes several times helped boost our confidence and improve our group coordination.

One of the strengths was how effectively we used the space and showed emotional shifts through our movements, which made the scenes more captivating and clearer for the audience to follow.

We could improve by keeping our energy levels steady throughout each scene and ensuring that every movement has a clear purpose, so the story remains strong and understandable without relying on dialogue.

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We finally had our first technical rehearsal, and it turned out to be both a tough and insightful experience. It was the first time I got to see the actual stage we'll be performing on, and it felt completely different from practicing in the dance studio. We had to adapt to the size of the stage, figure out our entrances and exits, and make sure we stayed in view of the audience at all times. It was also our first time working with stage lighting, so we had to learn to hit our marks to avoid being in the dark or stepping out of the spotlight during important parts. The lighting, sound effects, and scene transitions were all being tested and timed, which made the whole process very stop-and-go and sometimes a bit frustrating. It felt like the process was dragging at times, and there were moments when people started to get tired or lose concentration. On top of that, we were using props and wearing our costumes for the first time, which added extra pressure. Simple things—like holding drinks during a movement scene or managing fast costume changes. By the time the run finished, everyone understood their stage roles better and how to collaborate effectively with the backstage crew. Even though it was exhausting and sometimes frustrating, we pushed through, finished the rehearsal, and left feeling more ready and confident for the actual show.

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oday was a deeply emotional and challenging experience that tested me in unexpected ways. From the moment I stepped onto the stage, I felt really nervous and overwhelmed. Despite all my practice, I wasn’t completely sure of my lines — my mind kept blanking, and self-doubt crept in. Knowing I had to perform in front of a live audience made the pressure even heavier, and I couldn’t stop worrying about making mistakes.

Despite the nerves, I was also incredibly excited to perform at 7 pm, as it was a huge opportunity to showcase my abilities. It made the moment even more special knowing that my mum, brother, and close friends were there to watch me, which filled me with pride.

Wearing my costume and fully getting into character helped me concentrate and feel more connected to the performance. Once I was on stage, much of the stress and doubt began to disappear. My lines flowed more smoothly than I had anticipated, and I was able to stay in the moment, respond naturally, and feed off the energy of the other actors. The audience’s reactions — whether their quiet attention or laughter at the right times — gave me a huge boost.

As the performance continued, I grew more at ease and even began to have fun. It reminded me why I love performing—the rush of adrenaline, the teamwork, and the satisfaction that comes from successfully tackling something difficult. By the end of the day, I felt proud of what I had accomplished. It went better than I could have imagined and showed me that even when things don’t go perfectly, I can handle the pressure and deliver a strong performance. The day pushed me beyond my comfort zone but also helped me grow as a performer and boosted my confidence imagined and showed me that even when things don’t go perfectly, I can handle the pressure and deliver a strong performance.

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Our FMP was well performed, and the assessment was a beautiful experience. What I really enjoyed was how well the set up was and the lighting. It was amazing being able to perform in-front of students and family members. Our play was Kiss Marry Push Of cliff by Josh Azouz. I really enjoyed this play as it I learnt knew facts and was fun researching. When it came to rehearsals, we were all well prepared and was bouncing of each others' ideas to produce the full set up lighting etc. We were also given enough time to learn our lines. When it came to my character, I was able to really come out of my shell and express a whole nee person through my role. However, the nerves did get to me so in one of the scenes I did freeze but I had to make it look like it was part of the scene and try not to come out of character, but there was no noticeable mistakes as the audience does not know the play which makes it even better. I am proud with the fact that we were able to get the audience to laugh on certain scenes and made sure they did not loose interest which was a big achievement for us. It was clear how engaged they was from the beginning of our play. In Scene 4 I was able to show my emotions with with what we had done to our friend and to do so I had to really break the wall in-front of me and show the audience how much it has really hit me. Also, in this scene the chemistry between me and my partner we were able to bounce of each others' emotions which made the scene even stronger and helped helped us both tune into our character, automatically making the audience feel some sort of guilt towards either one of us. Afterwards I felt relieved because we were able to get through that scene smoothly and that was a scene we struggled with so automatically after I felt even more confident which allowed me to perform the rest of the scenes with efficiency and consistency. I did not engage with the audience to the best of my potential because when performing on stage I focus on my peers around me to comfort me whilst on stage, so my focus is not the audience when it is my turn to perform or say lines. So, leading onto what I need to improve that would be being able to engage with the audience to make them feel involved and I also need to take my time when on stage and what I mean by this: not rushing my lines, moving through scenes smoothly, interacting with my peers more. I was able to project my voice well through the play and made sure to make it clear what I was saying so the audience did not have to second guess what I was saying. The audience was also very comforting which also helped me to adjust.

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This was the day before tech rehearsal i was extremely nervous but i was using my nerves to help me proceed to improve. I was at home constantly going over my lines. My parents were a massive help to me as i was able to learn my que of when to come in for each line.

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Bertrolt Brecth

Style: Epic Theatre

Famous for: Wanting the audience to think instead of just feel.

Brecht believed theatre should challenge peiple and make them questions society, politics, and the world around them.

He didn’t want audiences to get lost in the story- instead, he used techniques like breaking the fourth wall, using signs or projections, and reminding the audience they were watching a play

One of his famous ideas was the “Verfremdungseffekt” (alienation effect)- a way to stop the audience from getting to emotionally attached so they could think more critically about.

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Playwright Research: Josh Azouz

Biography

Josh Azouz is a British playwright born and raised in London, where he cultivated a deep

interest in theatre and the arts. The vibrant and diverse cultural landscape of the city

has significantly influenced his work, often serving as both a backdrop and source of

inspiration for his plays. Azouz’s writing is deeply rooted in personal experience and

keen social observation, with recurring themes of identity, human connection, and the

complexities of contemporary life. His distinctive voice and thought-provoking

storytelling have made him a compelling figure in modern British theatre.

He went on to study at the University of East Anglia (UEA), where he did a master's in

creative writing. UEA’s strong focus on the arts gave him space to really explore his

voice as a writer and dive deeper into storytelling. That time played a big role in how his

writing developed and in the kind of theatre he creates today. Azouz’s education also

influenced his ability to blend complex themes with strikingly original language, and he

has since become known for his work in contemporary theatre. His writing often

reflects his deep engagement with literary traditions while pushing boundaries to

explore fresh perspectives and innovative forms of storytelling.

Azouz’s work tends to blend personal experience with sharp observation. His plays are

often bold, sometimes darkly funny, and always interested in what makes people tick.

He continues to be a distinctive voice in British theatre, telling stories that feel fresh,

honest, and deeply human.

Some significant life and experiences that josh has experienced are the following:

• Began his career with “The Mivkah project” which premiered at the Yard Theatre

in London 2015

• In 2018, Azouz’s “Buggy Baby” premiered at the yard theatre. This surreal horror-

comedy addresses themes of migration, PTSD, and identity through the lens of a

young refugee family in London.

• Azouz’s work has been recognized with various awards and nominations,

including a nomination for Best Audio Drama at The Audis for the radio

adaptation of “Once Upon a Time in Nazi Occupied Tunisia”

Career and Work:

1. “Gigi & Dar” at the Arcola Theatre. The play portrays two young soldiers at a

roadblock, blending elements of Greek tragedy with contemporary humou

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Style: Naturalism/Realism

Famous for: Helping actors create believable, truthful performances.

Stanislavski’s methods focused on actors connecting deeply with their characters-understanding their emotions, background, and motivations

He encouraged the use of “emotion meme org” (recalling real- life experiences to bring truth to a role) and asking, “What would I do if I were in this situation?”

His work influenced modern acting techniques and is the foundation for method acting.

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The set

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Augusto Boal was a Brazilian theatre practitioner, drama theorist, and political activist.Augusto Boal (born March 16, 1931, Rio de Janeiro, Brazil—died May 2, 2009, Rio de Janeiro).He was the founder of Theatre of the Oppressed, a theatrical form originally used in radical left popular education movements. He also does dramatic theatre as an acting style.

Augusto Boal's theory centers around the use of interactive theatre, particularly his Theatre of the Oppressed, to empower individuals and communities to address and overcome oppression. He believed that theatre could be a tool for liberation and transformation, encouraging audiences to become active participants in understanding and resolving issues of power and inequality.

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Enid Mary Blyton was an English children’s writer, whose books have been worldwide bestsellers since the 1930s, selling more than 600 million copies. Her books are still enormously popular and have been translated into ninety languages. As of june 2019, Blyton held the 4th place for the most translated author.

Born: 11 august 1897

Died: Dies: 28 Hampstead, London

Children: Imogen Mary Smallwood, Gillian Baverstock

Tv shows: The Famous Five, Make Way for Noddy, Noddy: Toyland Detective, Famous 5: On the Case, Readers and Writers

Enid started writing at an early age. A children’s magazine published one of her poems when she was just 14. Blyton trained to be a teacher, but she continued to write stories and poems while working as a teacher and a governess.

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One example of a great set designer is Tim Yip

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One example of a great set designer is Tim Yip

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A costumes designer’s key role is to visually interpret ascript and contribute to the storytelling by designing and creating costumes that reflect the characters, setting, and overall tone of production. This involves researching, sketching, selecting materials, and overseeing the construction and fitting of costumes for theatrical, film, television, and other visual media productions. Key skills needed for a costume designer include design and creative ability, strong communication and presentation skills, an understanding of fashion and costume history, attention to detail, and the ability to manage budgets and resources. Practical skills like sewing, fabric knowledge, and the ability to work well under pressure is also essential. A costume designer’s workflow and collaboration involve a creative process from first script analysis to on-set adjustments. They work closely with directors, actors, and other creatives to bring characters to life through visual story telling. An example of a costume designer is Edith Head she was an American film costume designer who won a record eight Academy Awards for Best Costume Design between 1949 and 1973, making her the most awarded woman in the academy’s history. Head is one of the greatest and most influential costume designers in film history.  Some of here memorable quotes: “you can have anything you want in life if you dress for it”, “A dress should be tight enough to show you’re a woman and loose enough to prove you’re a lady.”  The way I would contribute this role into Kids Marty Push off Cliff would be by considering the context of the situation, the characters involved, and the desired outcome. I would also consider how the characters attire reflects their personality and the scenario they are in.

In the future I do see myself doing this role as I am a highly creative person, and I love to make things from a sketch to real life. I also enjoy making clothes, making designs and I am incredibly open to different ideas to help the costume come out even better. I love communicating which is a big skill needed for costume designers.

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ChatGPT said:

Hannah Hauer-King is a London-based theatre director born in April 1991, making her 34 years old as of June 2025 and dramaturg known for her work focusing on new writing, musicals, and narratives centered on female and LGBTQ+ experiences. She is the co-founder and Artistic Director of Damsel Productions, an all-women theatre company dedicated to bringing women's stories to the stage with all-female creative teams .

She began her career as Resident Assistant Director at Soho Theatre in 2014. Since then, she has directed productions at notable venues including Soho Theatre, Kiln Theatre, Shakespeare’s Globe, Southwark Playhouse, Traverse Theatre, and Theatre503.

Beyond directing, Hauer-King is an advocate for diversity and inclusion in theatre. She has supported initiatives such as the Soho Young Writer’s Lab and has served as a reader for the Verity Bargate Award, the National Theatre's script reading panel, and the Women's Playwriting Prize .