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14/06/2018

Here, I am sorting out the Paramedic uniforms for Pool (No Water).

This is good practice as a DSM as DSM's are required to fill in SM roles if they are not well enough to attend rehearsals or a performance. I used my own initiative to do this.

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14/06/2018
7:43 - 8:22

I decided to take on miming instead of using verbal communication because it is different and the audience can understand the meaning of the message via body language and facial expressions.

Miming is also a physical theatre technique which relates to Pool (No Water). For example, scene 5 where we take off our clothing via miming.

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14/06/2018

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Pool (no water) - scene 5 devising practice 

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Pool (no water) - scene 5 devising practice 

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02/05/2018

I asked my teacher to record this because I am in this scene. I am one of the dancers who was made to travel across the stage and create the illusion of a flower blooming. I found this effective because it shows the different types of art. For example, in the video you can see the singers and then the dancers. This links to Pool (No Water) as the play has various elements of art; multimedia and more.

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Pool (no water) - scene 4 devising practice No. 7

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15/06/2018

From 1:00 - 1:47 you can see that I can do grand-plies without sticking out my bottom which is bad posture and I roll through the spine.

At 2:24 you can see that I can place my palms against the floor in the forward-fold pose while keeping my legs straight which is correct alignment.

At 2:48 - 3:35 I can hold the planks in various positions. I had to rethink about my weight distribution because I was wearing jazz trainers. However, I managed to find this because as a performer, it is important to use your own initiative and find the best ways to improve your technique in performance.

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15/06/2018

In this video, I am working on the blocking. Check my video reflection for this from 15:06/2018 for more information.

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15/06/2018

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25/04/2018

I had a biopsy done during this video and I could not join in on the warm-up. However, I was still able to do my DSM role and record what my colleagues were doing to help prepare themselves for rehearsals. Vocal warm-ups and warm-ups for the body are useful for Pool (No Water) because it prepares the muscles and bones for activities.

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02/05/2018

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Pool (no water) - scene 3 rehearsal No. 4

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Pool (no water) - scene 3 rehearsal No. 4

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25/04/2018

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Pool (no water) - scene 3 rehearsal No. 4

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Celine and Sabrina discussing ideas for costumes 

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Celine and Sabrina discussing ideas for costumes 

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25/04/2018

I suggested the costume design team to talk about their work and I told them that I will record it. I also asked them questions to help them reflect.

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Celine and Sabrina discussing ideas for costumes

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04/05/2018

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Pool (no water) rehearsal reflection No. 4.docx

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25/04/2018

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Pool (no water) rehearsal reflection No. 2.docx

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www.totallyzeba.tumblr.com

This is my Performing Arts Blog that I did in 2017. I did a lot of research on various jobs within the art industry, I also planned out my own funding for a play and more. This is useful because I may look into working in theatre one day.

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Performing Arts is my passion. Click on the 'links tab' to find out information on performing arts!

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15/03/2018

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16/03/2018

This helped me to write about my role as DSM.

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28/06/2018

I re-did the powerpoint presentation that I did three-months ago because it was not clear in the first video on what I created as the quality was 'blurry'. However, I felt the need to make another one to show my skills as an actor and my ability to do research to come up with ideas for performances.

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26/04/2018

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Pool (no water) rehearsal reflection No. 3.docx

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The Role of the Deputy Stage Manager No. 2

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The Role of the Deputy Stage Manager No. 2

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16/03/2018

I also used this to help me explore my DSM role more.

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The Deputy Stage Manager will sit at the stage manager's desk during the show (and technical and dress rehearsals), following the script and calling every technical cue, ensuring that all other crew members perform the correct technical effects at the correct time, and that effects only happen if it is safe to do so.

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Live Q/A on my Pool (No Water) Presentation 

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Live Q/A on my Pool (No Water) Presentation 

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28/06/2018

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Live Q/A on Pool (No Water) presentation

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27/04/2018

In this video, I asked the teaching assistant to record my colleagues and I for the read-through. Read-throughs are important as a company because it builds positive relationships and we can give each other feedback on how we performed the dialogues.

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Pool (no water) - scene 4 read-through No. 5

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18/06/2018

I found recording myself very useful because it helped me to remember my lines (memory recall).

I am a person who is an auditory learner which is a style of learning via listening. Therefore, I was able to remember my lines correctly because I recorded myself.

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Pool (No Water) Scene 6 - devising practice No. 1

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Pool (No Water) Scene 6 - devising practice No. 1

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07/05/2018

In this video, I asked my teacher to record me doing scene 6. Physical theatre uses a lot of devising techniques. For example, in this video we used the script as a stimulus but we improvised our movements and what we felt was the best way to channel our characters.

I come in the scene with my partner who has injured himself and I naturally caress him. However, I had to take into consideration the relationship between us because he was hesitant in speaking with me. This links to the theme of friendships in Pool (No Water) as there are power and status struggles amongst the group of friends.

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7:34 - 8:08
16/05/2018

This exercise was very helpful because it allowed us to engage in introspection. Introspection is important because we look within ourselves and what we can improve on. This links to Pool (No Water) because we see the artists engage in introspection and reflect on the past.

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29/05/2018
3:30 - 4:16

I am downstage left with my partner. However, I need to work on my voice projection as my voice sounds quiet.

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Zeba, Aaron and Kyra's Pool (no water) devising piece

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Zeba, Aaron and Kyra's Pool (no water) devising piece

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21/03/2018

In this video, two other students and I had to create a devising piece which includes physical theatre movement. This was a challenging task because we only had twenty-minutes to create this. We did this work in an abstract way and expressed art via movement and little dialogue. For example, when I got up and pressed my colleagues shoulders it pushed their bodies towards the floor; push dynamic.

This task links to Pool (No Water) because we did our movements based off of the play and the struggles of friendship and art.

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Zeba, Aaron and Kyra's Pool (no water) devising piece

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My contemporary/lyrical dance piece rehearsal and audition practice

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My contemporary/lyrical dance piece rehearsal and audition practice

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21/02/2018

I chose to perform two pieces which was a dance and a song because I wanted to challenge myself. In this video, I created a lyrical/contemporary dance in my room but then had to practice it in the dance studio to familiarise myself with travelling across the space and more.

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Here, I am just rehearsing my piece that I created. As a ballet dancer and rhythmic gymnast, I always wanted to understand the beautiful art of contemporary and lyrical dances. Therefore, I challenged myself in creating this piece and combined both. By the way, the floor is incredibly slippery so I tried my best.

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Pool (no water) - scene 1 rehearsal No. 1 

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Pool (no water) - scene 1 rehearsal No. 1 

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28/03/2018

I filmed this because it is important to keep a documentation of rehearsals. It allows for improvement and reflection but also helps me with the blocking for the Prompt Book as DSM.

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Pool (no water) - scene 1 rehearsal No. 1

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31/05/2018

We did an aerobic exercise which included flexibility and strengthening exercises. You can see from 3:19 - 3:29 that my posture during a straight-armed plank and a low plank hold is very good.

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31/05/2018
9:38 - 10:36

In this improvisation warm-up, we used elements of forum theatre where we were asked to 'tap' a person out and change the scene.

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Here, I have done research on the play and have come up with ideas for the production.

22/03/2018

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16/03/2018

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22/03/2018

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This in-depth analysis explains the meaning and symbolism of the color blue.

Cool, Calm and Collected

Renowned for its composed demeanor, blue is a tranquil presence. It doesn't intrude or pester. Instead, it merely makes itself known. In terms of the psyche, the color blue is known to impact the mind positively. Blue represents patience and understanding, which is why we feel so comfortable around it. When overwhelming emotions consume us, we're encouraged to decompress with the color blue. It's also commonly associated with the ocean, which further highlights its soothing essence.

Non-Confrontational

As a peacemaker, the color blue doesn't intend to stir the pot. In fact, it loathes the idea of creating conflict. Blue doesn't like being in the spotlight, so it keeps to itself. Regarded as one of the more reserved hues, blue is tight-lipped. Though it doesn't have a strong personality, blue does have a unique spirit.

Thrives on Organization

A little planning goes a long way with the color blue. Blue doesn't like to disrupt the status quo, and it's for this reason why there's so much predictability to it. Since it enjoys order so much, blue can be rather controlling. When things don't go according to plan, it can be pretty unsettling. For those who are seasoned perfectionists, the color blue understands you.

Relieves Stress

Anxiety and worry are deceitful mistresses. While they seek to fill us with dread, the color blue serves to create the opposite effect. Blue has no time for baseless fears. Blue inspires us to live in the present and bid farewell to our stress. By creating an air of serenity, it does just that. On a particularly challenging day, consider looking up at the sky. You'll find an oasis of calm gazing up at the clouds.

A Happy Helper

Forging a friendship with the color blue will do you good. As a trusted counselor, you can confide in this all-knowing hue. There's no question that blue doesn't hold the answer to. Blue takes nothing, but it gives everything. Its selflessness makes it an excellent adviser. When in need, seek guidance from the color blue. The insight that awaits you will prove wholly enlightening.

Susceptible to Pain

Given how sensitive the color blue is, it comes as no surprise that it hurts so deeply. Blue cowers in the face of betrayal and is unsure of how to pick itself back up. Though having emotions is healthy, perhaps the color blue feels too strongly. If your emotions tend to control you, be cautious of the color blue. Its hypersensitivity may fool you.

Blue Shades

Light blue represents health, healing, tranquility, understanding and softness.

Dark blue is associated with knowledge, power, integrity and professionalism.

Read more about shades of blue.

How the Color Blue Affects You

Soothes and relaxes, prevents chaos

Opens up communication

Extends your perspective and intuition

Provides a feeling of coolness and peace

What Your Blue Car Says About You

Dark blue makes you trustworthy, confident and reliable

Light or medium blue gives the impression that you are a cool, calm, faithful and silent type

Popular Phrases That Include the Color Blue

Out of the blue - to appear unexpectedly, out of nowhere

Looking/feeling blue - feeling sad/lonely/depressed

Once in a blue moon - very rarely

Caught the blues - feeling sad

Blue collar - related to manual work or workers in an industry

True blue - loyal, staunch, trustworthy

Blue blood - someone of royalty

Bolt from the blue - something unexpected happened

Go blue - to become very cold

Scream blue murder - shout loudly in anger or fear

Summary: Blue Color Meaning

Where calmness is present, so too is the color blue. In addition to its peacefulness, blue also offers direction and empathy. Though these attributes are promising, blue is also fragile and somewhat cowardly. These varying qualities make blue the perfectly balanced shade that so many love, trust, and adore.

Learn More: Check out my color symbolism chart for a complete list of color meanings.

Blue symbolizes: security, trust, loyalty, responsibility
Effects of blue: protects, calms, relaxes, supports
Positive traits: confidence, peace, honesty, reliability
Negative traits: conservative, passive, sad, predictable

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Blue Color Meaning: The Color Blue Symbolizes Trust and Loyalty

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This in-depth analysis explains the meaning and symbolism of the color blue. Renowned for its composed demeanor, blue is a tranquil presence. It doesn't intrude or pester. Instead...

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The Paradox of Contemporary Life and Mark Ravenhill's play

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The Paradox of Contemporary Life and Mark Ravenhill's play

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22/03/2018

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31/05/2018

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After completing the play, I would have changed scene 5 and explored more ideas. For example, forum theatre.

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01/06/2018

We did an aerobic exercise. My posture is very good and in dance it is important to bring your chest forward because it puts less pressure on the spine. You can see this from 2:37 - 2:46.

From 3:17 - 4:03 you can also see that my core strength is good because I am able to hold the position without my body trembling. I do a lot of plank exercises at home and at rhythmic gymnastics classes as well as ballet classes.

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24/06/2018

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In a once expensive but now shabby flat, a man and a woman attempt to feed an ill friend. He cannot eat and instead vomits violently in front of his two friends. This happens in the first minute of Mark Ravenhill's first play and acts as a statement of intent for the often-visceral theatre that makes up the rest of his oeuvre. The vomiting character, also called Mark, is typical of Ravenhill's characters - a drug addict, sexually ambiguous and promiscuous, a piece of human urban driftwood. Even without emptying his stomach, Mark is not the sort of figure to please the average middle-class London theatergoer. The offense is deliberate and starts long before the first scene of Ravenhill's first play, Shopping and Fucking (1996). Offending the audience starts, of course, with the title of that play, which in publicity posters, on the marquee of the Royal Court Theatre where it premiered, and on the cover of Ravenhill's collected plays (although not inside) it appeared and appears censored, as Shopping and F***ing. As with most censorship, the deletion of the offending matter only attracted more attention to what was missing and further contributed to the success of one of the most important theatrical events of the 1990s.

It is not for shock value alone that Ravenhill has his protagonist vomit on stage and places provocative words in his title. In fact, all his plays lead us towards the conclusion that the most shocking word and activity in the title of Shopping and Fucking is not the last one, but the one that goes uncensored, the seemingly banal, everyday one, 'shopping'. The world of Ravenhill's plays is the underside of our modern culture of conspicuous consumption, where happiness awaits at the end of a commodity, where the logic of the marketplace is invincible. Mark vomits, then, for a reason. Vomiting is the antithesis of consumption, an absolute rejection of the imperative to consume. That is not to say that Ravenhill's characters are not consumers. They consume recklessly, excessively, badly: drugs, sex, the nineties culture of rave music. They are equally consumed themselves, consumed by passions and activities not endorsed by an official culture which constantly sells sex and actively solicits the 'pink pound', but baulks at sodomy and anulingus. In Shopping and Fucking, Robbie short circuits an economy based on buying and selling by extravagantly giving away some 500 ecstasy tablets (less the ones he takes himself) in a night club, an act which epitomizes the unconscious resistance to consumer culture found in Ravenhill's plays.

This description almost makes Ravenhill sound like a political playwright, even though he rejects conventional political theatre. Speaking of one of the grand old men of British theatre, Ravenhill says, '(David) Hare and the rest knew in the Seventies what they were against. Now nobody knows and nobody cares.' Certainly in Ravenhill's first three full-length plays, Shopping and Fucking, Faust is Dead (1997) and Handbag (1998) there are few glimpses of a public sphere of politics beyond the solipsistic universes of the characters. In the seventies, left-wing playwrights such as David Edgar and Trevor Griffiths explored labour politics, dramatizing the worker's relation to the place of production. By the nineties, however, the British economy had moved inexorably away from manufacturing and towards service industries: the Indonesian or Thai worker makes the Nike trainers or Gap jeans; the smiling British 'worker' simply sells (and of course buys) them. This transformation of Britain into a retail economy is reflected in Ravenhill's plays, where his characters, if they do work, rarely produce or make anything. In Shopping and Fucking, Robbie works the till in an unnamed burger chain, Lulu tries to sell her image as a model, and Gary is a rentboy, selling himself as sex. In Handbag Suzanne and David work as market researchers, and in Faust is Dead, Donny is another rentboy while Pete appears to be the son of Bill Gates, the progenitor of a virtual empire.

In Ravenhill's view, in a modern retail economy characterised by dispersal, there is no more factory floor where workers can find common cause. Instead, we find in his plays a concern for 'micro-politics', the finite local struggles championed by the French thinker Michel Foucault, who appears thinly disguised as Alain in Faust is Dead, waxing philosophical in the desert outside Los Angeles. In Handbag, meanwhile, the plot centres on the politics of fertility and care, as two couples, one gay, and the other lesbian, attempt to conceive and then care for a child. The baby, through the neglect of child-minders, dies. The play therefore acts out a common anxiety fantasy of affluent parents while pointing out the exploitation of inexperienced carers who bear the burden of nurturing the offspring of the wealthy. Handbag interweaves this modern tale with an imaginative prehistory of Oscar Wilde's The Importance of Being Earnest, taking the perspective of the exploited Miss Prism, who was also a failed child-minder in her time.

Some Explicit Polaroids (1999), Ravenhill's fourth and most accomplished play, is populated with the familiar gallery of criminals, junkies, sex-workers and psychotics who are Ravenhill's heroes. It also ventures for the first time into the world of conventional politics, staging an encounter between the political nihilism of the late twentieth century and what Ravenhill perceives as the certainties of the seventies. These (socialist) certainties are represented by Nick, a leftist activist jailed in 1984 and only just released. The incompatibility of his strict Marxism with a modern Britain of retail and consumption provides the main fault-line of the play. He is particularly out of step with the changed sexual politics of Britain. First he attempts but fails to resume relations with his ex-girlfriend Helen, who has abandoned radical politics for reform, seeking a seat in Parliament. Then he embarks on a vexed relationship with the stripper Nadia, but is unable to cope with her ethereal disengagement from the world, her laissez faire attitude towards human relations. It is to Ravenhill's credit that the condemnation of Nick's masculine politics does not prevent him from casting an equally satirical gaze over the apathetic, de-politicised characters opposed to Nick.

This summary gives Some Explicit Polaroids more coherence than it aspires to. Its structure, like all Ravenhill's plays, is episodic, loosely plotted rather than carefully crafted. In other words, these plays are like the title of the fourth one - a series of snapshots scattered across the stage, with the audience left to trace the connecting lines between the pictures. Sensation, in this dramaturgy, takes precedence over suspense. Indeed, Ravenhill's plays are often remarked upon for showing what should not be shown: vomit, sexual acts, violence. Their theatricality, like that of Ravenhill's now dead contemporary Sarah Kane, is one of shock, shock which is reinforced by the theatrical aesthetic of nightclubs - strobing effects, the sudden blast of dance music lurching spectators out of their chairs. However, what Ravenhill does not show the audience is often more powerful than these jarring but superficial effects. Just as in classical tragedy the most brutal scenes are left off-stage, only to be reported second hand, so Ravenhill as often as not has his characters tell harrowing stories during theatrically quiet moments. This use of narrative is illustrated in Shopping and Fucking when Lulu comes into the pub with blood on her face. She proceeds to tell Robbie of the murderous stabbing attack by a tramp on a Seven-Eleven clerk. What horrifies her most is not that she did nothing to help, but that she used the attack as an opportunity to steal a TV guide and a chocolate bar. The most hideous offense is not the failure to help a fellow human being, but the transgression against the rules of consumption most of us so automatically obey.

Dr. Peter Buse, 2003

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In a once expensive but now shabby flat, a man and a woman attempt to feed an ill friend. He cannot eat and instead vomits violently in front of his two friends. This happens in the first minute of Mark Ravenhill's first play and acts as a statement of intent for the often-visceral theatre that makes up the rest of his oeuvre.

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18/06/2018

As stated before, I am an auditory learner. I learn better by recording myself speaking and then listening to myself performing the lines.

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In this video, my partner and I were asked to create a short contact work piece.

Contact improvisation is developed via improvisation. This links to Pool (No Water) because it is a play which has various themes; physical theatre and naturalism.

With contact improvisation, a simple touch of the shoulder can create dynamics of 'push' and 'pull'.

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24/06/2018

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Quartz ID: 157609
Learner ID: 154292
ULN: 8801738101

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Chloë and Stephen's Pool (no water) devising piece

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Chloë and Stephen's Pool (no water) devising piece

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21/03/2018

I filmed this as part of evidence but to also help me with the blocking for the Prompt Book and to allow other performers to reflect on their devising practice.

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Chloë and Stephen's Pool(no water) devising piece.

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24/06/2018

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Mark Ravenhill

Frantic Assembly

The Drum, Plymouth Theatre Royal, & touring

(2006)

Review by Allison Vale

Publicity image

Mark Ravenhill's new play, premiered by Frantic Assembly at The Drum, is a visceral piece of work which pushes the boundaries of theatre with authority and imagination. Four friends, artists, recount the story of an horrific accident that befalls a member of their group, who has long since risen to fame and acclaim. In the coma that follows, the paper-thin veneer of their friendship and the professional jealousy that has torn it apart is exposed in all its malice and unsightliness, as they turn their unconscious friend into their next art project.

Ravenhill's text has a hypnotic fluidity; his four characters are nameless and the lines of the script are not allocated to any one of them. Directors Scott Graham and Steven Hoggett give the production a stark naturalism as well as a dynamic form and structure: the actors complete each other's sentences and thoughts without ever sacrificing their own distinct identities. Like an anti-chorus, their co-dependency is clear as they tell the story as one.

The agility of the text and the choreography is amplified further by stunning lighting from Natasha Chivers and a spectacular set designed by Miriam Buether. The set is an elegant, gleaming, white-tiled space: part hospital room, part empty swimming pool. The drug-induced madness of the penultimate scene is amplified with momentary sparks of light, pulsating like epileptic synapses, to which all four actors jerk in time. It is subtle, fleeting and understated. The arresting soundtrack, composed by Imogen Heap, is an additional and exhilarating element in this sensory assault.

The four-strong cast - Kier Charles, Cait Davis, Leah Muller and Mark Rice-Oxley - are authoritative and mesmeric. When they first appear on stage, one twitching her nose, post-snort, one picking his nose, playing with his hair, each character is utterly self-absorbed. This lends each a distinct identity from the start, and is delicately done, but at the same time wholly indicative of the group's egocentricity which they are about to lay bare.

None can forgive their friend for daring to raise her head above theirs. That peculiarly British trait: to see success as an affront to the rest of us.

The casts' gritty, filmic naturalism makes you feel you are not so much a part of the audience, as participants in some group-counselling session. And then in a moment, that über-real, balletic physicality cuts through the naturalism, but never interferes.

Ravenhill raises dark questions about friendship, about ambition and success. The excitement the group admit to feeling in the aftermath of the accident: the thrill of any real-life drama that enables us to crack the shell of our tedious daily lives. The abusive, de-humanising of their unconscious friend, whose 'absence' prevents them from making any emotional connection with her at all, in her coma, much as it did in her conscious (and successful) life.

This darkly comic, visually spectacular and at times challenging and uncomfortable production is the culmination of Mark Ravenhill and Frantic Assembly at their finest.
Runs in Plymouth until 22nd September and tours to The Everyman, Liverpool; Contact Theatre, Manchester; The Lyric, Hammersmith, and The Point, Eastleigh. Philip Fisher reviewed this production at the Lyric, Hammersmith

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Theatre review: pool (no water) at The Drum, Plymouth Theatre Royal, & touring

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Mark Ravenhill Frantic Assembly The Drum, Plymouth Theatre Royal, & touring (2006) Review by Allison Vale Mark Ravenhill's new play, premiered by Frantic Assembly at The Drum, is a visceral piece of work which pushes the boundaries of theatre with authority and imagination.

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Chaimaa, Sabrina and Piotr's Pool (no water) devising piece 

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Chaimaa, Sabrina and Piotr's Pool (no water) devising piece 

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21/03/2018

Again, I filmed this too for evidence.

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Chaimaa, Sabrina and Piotr's Pool (no water) devising piece.

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24/06/2018

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Have you ever felt a twinge of envy after hearing of a friend's success? Have you ever longed for all those Icaruses up there - people who are no more talented than you, but who twinkle in the firmament while your feet are in the mud - to crash and burn?

If this new collaboration between Mark Ravenhill and Frantic Assembly is shocking, it is only because it tells the messy truth, and voices the unspeakable. Played out on Miriam Buether's dazzling, white-tiled set which serves as a giant swimming pool that dwarfs the protagonists, a clinical hospital room and a confessional stained with unclean thoughts and actions, Pool (No Water) allows us inside the heads of "the group", four former art school students.

Once, there were seven of them, but two are dead and one has flown so far above the rest that she is just as unreachable. It is around her new swimming pool that the quartet gather in the knowledge that they will never enjoy her success and their lives will never again have the colour they did in that first shared studio a decade ago. For them, "the sad rot to the grave has already begun".

The wordiness of Ravenhill's script takes a while to be reconciled with the physical, but the two eventually collide and explode in 80 dynamic minutes that turn its characters inside out. The play doesn't just ponder friendship, it also considers the morality of turning other's lives into your art - and asks what is art actually for.

It could be a horribly cynical evening, but it is suffused with bitter pain and lit by the suggestion that we can transcend our baser instincts - but only when we face the real truth about ourselves.

· Until October 7. Box office: 01752 267222. Then touring.
Topics

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Have you ever felt a twinge of envy after hearing of a friend's success? Have you ever longed for all those Icaruses up there - people who are no more talented than you, but who twinkle in the firmament while your feet are in the mud - to crash and burn?

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23/02/2018

As you can see, I performed a dance and a song. As a performer, I wanted to challenge myself and do various things.

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16/03/2018

This template was given by one of my Performing Arts teachers which helped me with my DSM role.

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24/05/2018

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Zeba FMP Production Roles - Google Forms.pdf

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16/03/2018

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16/03/2018

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Helen and Chloe's Pool (no water) devising piece

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Helen and Chloe's Pool (no water) devising piece

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21/03/2018

I filmed this one too.

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Helen and Chloe's Pool (no water) devising piece.

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17/06/2018

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24/06/2018

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Three cheers for the small but ambitious One Year Lease Theater Company for bringing this terrific 2006 play to local shores, in a vividly acted production at the 9th Space, staged by the company's artistic director, Ianthe Demos, with a considerable assist from the choreographer Natalie Lomonte and input from the five-member cast.

The dynamic performance brings energy and animation to a text written as a sort of collective monologue, recounting events mostly in the past tense. (None of the play's living characters are named.) The five first-rate young actors - Estelle Bajou, Christopher Baker, Nick Flint, Christina Bennett Lind and Richard Saudek - move between the first person plural and singular as they recall their evolving relationship with a friend whom they alternately profess to "adore" and furtively criticize.

At least some of the criticism derives from that demon plaguing the creative classes, whether they cop to it or not: envy. A decade ago their friend was just one of the gang, struggling, putting on exhibitions in grotty spaces and expecting fame and riches to arrive at any moment. And they did, but only for her, she of the pool, who then withdrew into more rarefied climes.

"Nowadays she's ... absent," says one friend. Another sniffily chimes in: "Exactly. She's absent," and continues: "It's that quality in her work that sells. The pieces that first began when we lost Ray to the whole AIDS thing. And she used Ray's blood and bandages and catheter and condoms. Pieces that sold to every major collector in the world."

Life and death, suffering and success, love and hate and the mysterious forces that shape our fates are constant concerns for the self-probing, self-vindicating, self-lacerating characters of the play. When Sally, another of the group, died, envy of the Lady of the Pool twisted into irrational blame.

"None of us was meant to be wealthy," one complains. "We're the group. And there's balance. And you took away the balance. One of us goes up, then one of us goes down. It's a natural law. Don't you understand the most basic natural law? Well, of course you do - understood it and ignored it - on purpose - and killed Sally."

But a grisly chance for revenge - well, perhaps that's too strong a word; the Lady of the Pool wasn't really responsible for Sally's death, was she? - arrives when that near-fatal accident occurs. As the artists visit their friend in the hospital and spend their days in stunned grief, wondering whether she will survive, someone pulls out a camera and begins to record the experience.

Who was it? No one remembers, or so they say. But they all admit to joining in. Impossible for a true artist to resist such a strange gift from the muses, a vivid image of life's horror that can be transformed into art.

"The purple of the bruise," says one. "It appeals. It tempts. There is beauty here. We know, we've spent our life hunting it out."

Mr. Ravenhill's writing has a hypnotic beauty itself, as the locked chambers of each of the character's minds are slowly exposed. Excited by the chance to snatch a little fame for themselves - there is not only beauty but also opportunity in images of that bruised, celebrated body - they are also assailed by shame.

Ms. Demos's staging, which employs five white benches on a bare stage, ingeniously transforms the group's wavering between solidarity and isolation into movement as the visitors furtively continue to photograph their friend.

Mr. Ravenhill once wrote a play, "Handbag," inspired by Oscar Wilde's "Importance of Being Earnest," and "pool (no water)" feels a bit like a riff on "The Picture of Dorian Gray," Wilde's novel about the temptation to sell one's soul for a purchase on immortality.

Just a little bit gothic but entirely plausible and flawed only by a little bald overstatement in the last few minutes of its hourlong running time, the play is full of perceptive commentary on the tension between affection and antipathy among friends - and the interior tensions in the individual soul between self-love and self-hate.

Its sneaky, almost guilty-pleasure appeal is linked to our natural identification with these attractive, articulate young men and women as they coolly rationalize behavior that, seen from the outside, might look more than a little monstrous. Mr. Ravenhill and the skilled cast bring us wholly inside their skins, so that we can't help sharing their point of view.

Who, after all, has not felt a little pang of displeasure at hearing of the outrageous success of a friend or acquaintance we deem less worthy or good or talented than ourselves? Can we blame the play's characters, demoralized and sliding into middle age as nonentities, for risking a little moral obloquy for a last chance at success?

Pool (no water)

Credits Written by Mark Ravenhill, directed by Ianthe Demos, choreographed by Natalie Lomonte, music by Estelle Bajou

Cast Starring Estelle Bajou, Christopher Baker, Christina Bennett Lind, Nick Flint and Richard Saudek

Closing Date May 26, 2012

This information was last updated:

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'pool (no water),' by Mark Ravenhill at the 9th Space

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Three cheers for the small but ambitious One Year Lease Theater Company for bringing this terrific 2006 play to local shores, in a vividly acted production at the 9th Space, staged by the company's artistic director, Ianthe Demos, with a considerable assist from the choreographer Natalie Lomonte and input from the five-member cast.

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Items checklist for Pool (no water) and signs

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Items checklist for Pool (no water) and signs

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I made these as part of being DSM.
17/06/2018

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Items checklist for Pool (no water) and signs

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18/06/2018

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19/06/2018

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20/06/2018

The rehearsal directors asked us to use a partner for this trust exercise. One of us had to close our eyes while the other guides us around the room. Trust is important because it helps to build positive relationships within the company which allows us to complete projects.

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20/6/2018 Warm Up for Matinee Performance

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20/06/2018

We did our own vocal warm-ups because it allows us to use our own initiative skills which is important in terms of preparing the body and problem-solving for the future. I changed my pitch, tone and voice throughout.

We also made use of the space and changed our walking speeds.

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20/06/2018

We did a lot of tongue twisters to help with our diction and voice. We did this because in the afternoon performance we were not as engaged but we wanted to improve as a company.

This is important for Pool (No Water) because it keeps the vocal folds warm and allows for correct voice projection.

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20/6/18 Evening Performance Vocal Workshop

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This is regarding my performances.

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19/06/2018

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An essay on Physical theatre and naturalism as a genre

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An essay on Physical theatre and naturalism as a genre

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Physical theatre and naturalism as a genre.docx

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0:17 - 0:29
20/06/2018

I was given a short script where I had to learn the lines within thirty minutes and then perform my lines. I managed to successfully show the colours of my character and I portrayed this effectively in Pool (No Water).

We used confessional tapes as part of our performance to show multimedia which is a form of art. Lastly, the confessional tapes show a stream of consciousness which links to the play as each character finishes each other's sentences or starts a new topic of thought.

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A discussion on being Deputy Stage Manager 

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A discussion on being Deputy Stage Manager 

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22/06/2018

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A discussion on being Deputy Stage Manager

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20/06/2018

35:13 - 35:27
My voice projection was very low here and I did not take into consideration the pitch and tone of my voice too. Although, you can hear some words clearly, I will need to work on my voice. However, I was happy that I did my best in this performance and remembered my cues. For example, at 38:03 I moved the easel to upstage right and at 46:25 was another example where I remembered to run to the downstage left easel with my partner and place it against the upstage left rostra.

38:40 - 39:00
My voice was clearer here especially when I said, "And she has visitors. Her Manager. Her publicist. The gallery owner". I also liked how I portrayed my body language and facial expressions as the gallery owner. This links to my 'The body language and facial expressions of my characters' presentation which is found under the 'research' tab on Padlet.

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My Evaluation on being a performer and a Deputy Stage Manager

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My Evaluation on being a performer and a Deputy Stage Manager

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22/06/2018

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My evaluation on being a Deputy Stage Manager and a performer

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Credit: Sue Venables

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22/06/2018
36:18 - 38:53

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20/06/2018

3:34 - 34:39
My voice projection is still low. However, it is clearer compared to the first performance.

38:04 - 38:23
You can hear me very clearly when I mention about the visitors; her manager, her publicist, the gallery owner. As stated before in my afternoon performance, my body language and facial expressions are clear.

46:55 - 46:58
I actually felt hurt here when She blamed my character along with the other artists. One of the themes for Pool (No Water) is 'friendship'. In terms of friendship, my character was stuck in the middle between She and the other artists. I did not have anything against She but I did not stand up for her neither. Therefore, when she yelled at me and said, "And you thought I didn't see your jealousy and hatred all these years?", I looked up at her very quickly in shock. You could already see that my character is vulnerable because I was in a defensive position; tucked my head into my neck, legs drawn towards my head in a seated position and arms wrapped around my body.

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20/6/18 Pool (No Water) Evening Performance (ipad)

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22/06/2018

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Zeba Pool (No Water) Evaluation - Google Forms.pdf

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An Evaluation for Pool (no water) and my production role

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An Evaluation for Pool (no water) and my production role

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26/06/2018

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An Evaluation for Pool (no water) and my production role.pdf

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Credit: Sue Venables

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In this video, the costume designer asked me various questions and how my costume links to my character.

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The body language and facial expressions of my characters 

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The body language and facial expressions of my characters 

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25/06/2018

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1530287465608_The Body Language and Facial Expressions of my characters.pdf

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25/06/2018

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Body language is an important part of communication - here is information about how to use it.

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27/06/2018

You can find all the evidence of my work as Deputy Stage Manager here. I wrote down the cues/blocking/notes and created my own template to do this.

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25/06/2018

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Support BLP by linking to our page and recommending us to others!!!
____________________________________________________________________________________________

Bring your ATTENTION span, PLUG-IN and start becoming a master body language reader TODAY!

Read over 300 pages on all facets of body language! This Free body language Ebook covers everything you will ever need to know about reading people and is FULLY illustrated with over 500 original images!

This is the book to digest if you want to become an expert body language reader!

Navigate by clicking left and right with the bottom tabs or use the Table Of Contents. Read a couple pages each day! Bookmark your last page and continue reading!

If it's too much, or you don't want as much detail, move to the " Tiny Book Of Body Language " at anytime.

Continue reading in the other Body Language Portals to build on this sturdy base!
____________________________________________________________________________________________
Chapter 1 - Why The Study Of Body Language Is Important Chapter 2 - The Basics Of Understanding Body Language Chapter 3 - Cultural Differences Chapter 4 - Space And Territory Chapter 5 - Seeing Eye To Eye - A Look At The Language Of The Eye Chapter 6 - Smiles and Laughter Chapter 7 - Opened Mind, Open Body, Closed Mind, Closed body Chapter 8 - Dominant and Submissive Gestures Chapter 9 - Defensive and Aggressive Body Language Chapter 10 - Attentive And Evaluative Body Language
Introduction
Attentive Body Language:
Undivided Attention
Fidgeting, The Feet, Jiggling and Kicking
Agreement Indicators
Hand On The Chin For Evaluation Or Negative Thoughts
Other Attentive Cues
Evaluative body language:
Chin Stroking And Tongue Protrusion
The Invisible Lint Picker
What Glasses Mean
Hand Steepling
Neck Rubbing
Other Evaluative Gestures
Summary
Chapter 11 - Emotional Body Language Chapter 12 - Mirroring And Building Of Rapport Chapter 13 - Courtship Signals Chapter 14 - Office Body Language
Chapter 15 - Seating Arrangements
Introduction
How We Know Why We Meet
Early Research Into Seating Arrangements
Rectangular Seating Positions:
Casual Corner Position
Cooperative Side-By-Side Position
Independent And Opposite Position
Competitive Head-To-Head Position
Leadership Positions And The Head Of The Table
Chapter 16 - Deception and Lie detection
Machines That Detect Lies - When All Else Fails Bring In The Machines:
fMRI In Lie Detection
Thermal Scanners, Eye Trackers, Pupillometers And Stress Sniffers

So Which People Are Good At Detecting Lies?
How We Really Detect Lies
How To Accurately Read Lies
Comfort and Discomfort In Detecting Deception
Comfort and Discomfort Body Language
Setting Someone Up To Be Read
Summary
Final Thoughts References

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The Only Book On Body Language That Everybody Needs To Read

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Support BLP by linking to our page and recommending us to others!!! ____________________________________________________________________________________________ Bring your ATTENTION span, PLUG-IN and start becoming a master body language reader TODAY! Read over 300 pages on all facets of body language! This Free body language Ebook covers everything you will ever need to know about reading people and is FULLY illustrated with over 500 original images!

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27/06/2018

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The importance of documenting rehearsals as DSM

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The importance of documenting rehearsals as DSM

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27/06/2018

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The importance of documenting rehearsals as DSM

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27/06/2018

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When my casting director colleagues are asked, "What is the one thing you tell actors to do before their audition?" they unanimously reply, "Preparation!" I often write about preparation, as it is key to a good audition or an upcoming job, whether it be in acting or another field. In my article "Questions and Answers," in the April 10 issue, I talked about what you should bring up with your representation (and yourself) before committing to a gig.

Preparation comes in many forms. You've learned your lines and are off-book. You've made distinct and unique character choices. In addition, you've researched the filmmakers, so you know their credits and expectations based on their previous work.

I continue to be shocked by how many actors come in either for a coaching session or an audition and spout lines about a subject they don't know anything about. Worse, they are reciting words and they don't know the meanings.

As an actor, you are asked to interpret the material. If your character is meant to talk about a topic that you know nothing about, I expect you to look it up and do the proper research. I want you to know it inside and out. On the rare occasion that the director might ask you to riff or do some improvisation, wouldn't it be great if you've already done extensive research on this topic and you'll easily be able to talk about it as your character? Those who don't are caught with the "deer in headlights" look plastered across their faces.

Likewise, I've had several instances when I'm auditioning an actor and they don't know the meaning of the words they are saying, nor how to pronounce them. When you mispronounce a word or don't know the meaning or intention of what you're saying, it lacks conviction. It takes me out of the scene and I stop believing you. As much as casting directors say that we want you to get the job, you lose us when you don't do the simplest bit of homework. Correct pronunciation is the most basic part of your preparation, and it never ceases to amaze me when an actor doesn't take this essential step.

Imagine you are a doctor who is performing surgery tomorrow. I will bet that you'd do research and reread the latest literature on the procedure. This is your job, folks; this is what you have chosen to do for a living. If you try to take shortcuts then that is the career you're going to have. I can guarantee it.

What about you? What steps do you take to prepare? I'd love to hear your thoughts.
Like this advice? Check out more of Marci Liroff's articles!
Known for her work in film and television, producer and casting director Marci Liroff has worked with some of the most successful directors in the world such as Steven Spielberg, Ridley Scott, Mark Waters, Christopher Nolan, Brad Bird, and Herbert Ross. While working at Fenton-Feinberg Casting, she, along with Mike Fenton, cast such films as "A Christmas Story," "Poltergeist," "E.T. - The Extra Terrestrial," "Indiana Jones and the Temple of Doom," and "Blade Runner." After establishing her own casting company in 1983, Liroff cast "Footloose," "St. Elmo's Fire," "Pretty in Pink," "The Iron Giant," "The Spitfire Grill," "Untamed Heart," "Freaky Friday," "Mean Girls," "Ghosts of Girlfriends Past," "Mr. Popper's Penguins," "Vampire Academy," and the upcoming "The Sublime and Beautiful," which she produced as well.
Liroff is also an Photo by Doug Hac. acting coach, and her three-night Audition Bootcamp has empowered actors to view the audition process in a new light. The class spawned an an online course available at Udemy entitled "How To Audition For Film and Television: Audition Bootcamp".
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auditions | casting calls | open casting calls | casting call | open casting call

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The No. 1 Most Important Bit of Preparation

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When my casting director colleagues are asked, "What is the one thing you tell actors to do before their audition?" they unanimously reply, "Preparation!" I often write about preparation, as it is key to a good audition or an upcoming job, whether it be in acting or another field.

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27/06/2018

I used this information to write about Video Reflection No. 5 which is about my performance day.

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What is Reflective Practice?

Reflective practice is, in its simplest form, thinking about or reflecting on what you do. It is closely linked to the concept of learning from experience, in that you think about what you did, and what happened, and decide from that what you would do differently next time.

Thinking about what has happened is part of being human. However, the difference between casual 'thinking' and 'reflective practice' is that reflective practice requires a conscious effort to think about events, and develop insights into them. Once you get into the habit of using reflective practice, you will probably find it useful both at work and at home.

Reflective Practice as a Skill

Various academics have touched on reflective practice and experiential learning to a greater or lesser extent over the years, including Chris Argyris (the person who coined the term 'double-loop learning' to explain the idea that reflection allows you to step outside the 'single loop' of 'Experience, Reflect, Conceptualise, Apply' into a second loop to recognise a new paradigm and re-frame your ideas in order to change what you do).
They all seem to agree that reflective practice is a skill which can be learned and honed, which is good news for most of us.
Reflective practice is an active, dynamic action-based and ethical set of skills, placed in real time and dealing with real, complex and difficult situations.

Moon, J. (1999), Reflection in Learning and Professional Development: Theory and Practice, Kogan Page, London.

Academics also tend to agree that reflective practice bridges the gap between the 'high ground' of theory and the 'swampy lowlands' of practice. In other words, it helps us to explore theories and to apply them to our experiences in a more structured way. These can either be formal theories from academic research, or your own personal ideas. It also encourages us to explore our own beliefs and assumptions and to find solutions to problems.

Developing and Using Reflective Practice
What can be done to help develop the critical, constructive and creative thinking that is necessary for reflective practice?
Neil Thompson, in his book People Skills, suggests that there are six steps:

1. Read - around the topics you are learning about or want to learn about and develop

2. Ask - others about the way they do things and why

3. Watch - what is going on around you

4. Feel - pay attention to your emotions, what prompts them, and how you deal with negative ones

5. Talk - share your views and experiences with others in your organisation

6. Think - learn to value time spent thinking about your work

In other words, it's not just the thinking that's important. You also have to develop an understanding of the theory and others' practice too, and explore ideas with others.

Reflective practice can be a shared activity: it doesn't have to be done alone. Indeed, some social psychologists have suggested that learning only occurs when thought is put into language, either written or spoken. This may explain why we are motivated to announce a particular insight out loud, even when by ourselves! However, it also has implications for reflective practice, and means that thoughts not clearly articulated may not endure.

It can be difficult to find opportunities for shared reflective practice in a busy workplace. Of course there are some obvious ones, such as appraisal interviews, or reviews of particular events, but they don't happen every day. So you need to find other ways of putting insights into words.

Although it can feel a bit contrived, it can be helpful, especially at first, to keep a journal of learning experiences. This is not about documenting formal courses, but about taking everyday activities and events, and writing down what happened, then reflecting on them to consider what you have learned from them, and what you could or should have done differently. It's not just about changing: a learning journal and reflective practice can also highlight when you've done something well.

Take a look at our page What is Learning? to find out more about the cycle of learning (PACT) and the role that reflection (or 'Considering') plays in it.
In your learning journal, it may be helpful to work through a simple process, as below. Once you get more experienced, you will probably find that you want to combine steps, or move them around, but this is likely to be a good starting point.

Identify a situation you encountered in your work or personal life that you believe could have been dealt with more effectively.

Describe the experience

What happened? When and where did the situation occur? Any other thoughts you have about the situation?

Reflection

How did you behave? What thoughts did you have? How did it make you feel? Were there other factors that influenced the situation? What have you learned from the experience?

Theorizing

How did the experience match with your preconceived ideas, i.e. was the outcome expected or unexpected? How does it relate to any formal theories that you know? What behaviours do you think might have changed the outcome?

Experimentation

Is there anything you could do or say now to change the outcome? What action(s) can you take to change similar reactions in the future? What behaviours might you try out?

The Benefits of Reflective Practice
Reflective practice has huge benefits in increasing self-awareness, which is a key component of emotional intelligence, and in developing a better understanding of others. Reflective practice can also help you to develop creative thinking skills, and encourages active engagement in work processes.
In work situations, keeping a learning journal, and regularly using reflective practice, will support more meaningful discussions about career development, and your personal development, including at personal appraisal time. It will also help to provide you with examples to use in competency-based interview situations.

See our pages on Organising Skills and Strategic Thinking to find out more about how taking time to think and plan is essential for effective working and good time management, and for keeping your strategy on track. This is an example of the use of reflective practice, with the focus on what you're going to do and why.

Warning

Reflective practice is one of the easiest things to drop when the pressure is on, yet it's one of the things that you can least afford to drop, especially under those circumstances. Time spent on reflective practice will ensure that you are focusing on the things that really matter, both to you and to your employer or family.

To Conclude
Reflective practice is a tool for improving your learning both as a student and in relation to your work and life experiences. Although it will take time to adopt the technique of reflective practice, it will ultimately save you time and energy.

Further Reading from Skills You Need
The Skills You Need Guide to Personal Development
Learn how to set yourself effective personal goals and find the motivation you need to achieve them. This is the essence of personal development, a set of skills designed to help you reach your full potential, at work, in study and in your personal life.

The second edition of or bestselling eBook is ideal for anyone who wants to improve their skills and learning potential, and it is full of easy-to-follow, practical information.

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Learn to reflect on what you do in order to get full value from all your experiences and make yourself more effective at home and at work.

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The importance of doing research as a DSM and a performer 

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The importance of doing research as a DSM and a performer 

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27/06/2018

In the art industry, it is important to understand the importance of flexibility and doing various jobs because it shows commitment and the ability to work under pressure. In this video, I am explaining why research is important as a DSM and as a performer.

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The importance of doing research as a DSM and a performer

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22/03/2018

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The production teams' discussion on Pool (no water)

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The production teams' discussion on Pool (no water)

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22/03/2018

I went around the theatre recording each team on their discussion for Pool (No Water). It is important as a DSM to do all this.

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The production teams' discussion on Pool (no water)

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The production teams' discussion on Pool (no water) No. 2

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The production teams' discussion on Pool (no water) No. 2

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22/03/2018

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Production teams' discussion on Pool (no water) No. 2

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Front of House's discussion on Pool (no water)

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Front of House's discussion on Pool (no water)

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22/03/2018

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Front of House's discussion on Pool (no water)

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The creative teams' discussion on Pool (no water)

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The creative teams' discussion on Pool (no water)

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22/03/2018

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Creative teams' discussion on Pool (no water)

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The creative teams' discussion on Pool (no water) No. 2

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The creative teams' discussion on Pool (no water) No. 2

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22/03/2018

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The creative teams' discussion on Pool (no water) No. 2

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23/03/2018

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Pool (no water) rehearsal reflection No. 1.docx

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16/05/2018

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A discussion on why I applied as Deputy Stage Manager

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A discussion on why I applied as Deputy Stage Manager

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28/06/2018

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A brief discussion on why I applied as Deputy Stage Manager

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Pool (no water) - scene 1 rehearsal No. 2

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Pool (no water) - scene 1 rehearsal No. 2

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28/03/2018

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Pool (no water) - scene 1 rehearsal No. 2

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Pool (no water) - scene 2 rehearsal No. 3

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Pool (no water) - scene 2 rehearsal No. 3

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19/04/2018

I recorded my colleagues performing scene 2. This is important because as DSM, I must keep a record of the rehearsals so I can liaise this with the SM and other departments.

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Pool (no water) - scene 2 rehearsal No. 3

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19/04/2018

Documentation is important because it is a record keeping of events.

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19/04/2018

Here, we were working out the transitions and timing.

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14/03/2018

We did this task to test our skills as a performer who can create a story within 3 minutes but to also write whatever comes into our minds.

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Pool (no water) - scene 6 devising practice No. 2

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Pool (no water) - scene 6 devising practice No. 2

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09/05/2018

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Pool (no water) - scene 6 devising practice No. 8

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19/04/2018