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Unfortunately I was not able to attend the finale performance because I was very Ill. However the process of creating the piece was something that I really enjoyed. I found it really interesting to see the how Mia and Gabby portrayal of there character grew and how there relationship as the two character formed.

I think that both of there performances were very thoughtout and really fun to watch. I also think my stage help to build the scene for the audience while also being able to give gabby and Mia the freedom to portray their characters the way they wanted to.

If I were to do this again I think I would set my mind on my chosen script sooner so I could have gone into deeper depth with what wanted to do with he piece and embellish the final performance with some costumes and props.

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For the stageing for this piece I wanted it to be relatively basic, for me this meant have a normal procecium arch which makes it obvious to the audience that they are watching a piece of theatre. Another thing I wanted was for stage to be relatively bared leaving it just to the two actors present to tell the story and bring audience along with the story.

I wanted to staging for the piece to be rather simple, I didn't want to be to rehearse and unnatural. This meant that I let the actor have a lot of free range in what they wanted to do in terms of staging as I wanted everything to be organic to them. I also feel like this helps to a keep the show fresh so the actors can enjoy performing it more without feeling controlled. While I did let the actors have a lot of free range there were a few things that I had to stick to staging wise such as the entrance and exists of characters and important stage directions that effect the course of the scene.

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I knew that with this piece of the text that the costumes needed to represent clearly what estragon and vladimir had gone through. One of my first ideas was to have them dress in worn out, ripped and bloody wartime umiform of 1812. My reason for this is because from my first impression of the piece I always thought that both the men had seen destruction and death which is why they have such a strong philosophical viewpoint of some of the the event in the play.

I also think that this would add another layer of depth to both the men's characters, for example it explains clearly why estragon is so bitter and also explain why Vladimir always seems so frighten and often turns to religion for comfort.

This would also neatly show how both men know each other so well given that they would have served a considerable amount of time together in the army and had both witness the horrors of war and would explain how it shaped them both as people.

However upon further research I found that many of the productions show both the men to be dressed as torn and tatted business men who have both seen better days and who's suits are worn from the years that they have had to wear them. I really liked this idea and though that it really interesting to explore this idea further as it would also give another interesting angle on both characters and what happen to them before the start of the play.

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For my piece I wanted to draw inspiration from the stage production itself. I research the set design of recent productions and found that there was always similarity tying them together. For example the tree in which estragon and Vladimir discuss handing them self off is always present and serve as a consent reminder of the two men's situations.

The rest of the stage is almost always blank and the tree is the only indication of where the audience might be, the rest is very much up to the imagination.

My main want for this piece is to stay true to what the stage design already was. This would consist of everyone I've mention adove, I would have a projection or a built set piece of the moon as I feel that the time of day should be stated more clearing to the audience and I believe there could be some really powerful moment within the piece in the moon was included.

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Teamwork is so vital to make a piece of work successful so when people dont attend rehearsal it can damage a piece drastically. During the rehearsal process for directing there was a lot of Adsenses which meant that people weren't able to rehearse there piece when they were scheduled to which through to whole process off balance.

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At our first rehearsal we had a read through the entire scene and then workshopped what we thought each character would do at certain moments. The thing I really enjoyed about this was it let Mia and Gabrielaportrayal come through a little bit and you could really see how they thought the character should be played.

After this we did an improvised run through of the scene where Mia and Gabriela were able to do whatever they liked while performing the script. Thanks to this technique we were able to pick up some really nice character choices that could be developed and built upon. I really felt like this rehearsal went well and help to build a strong foundation to the piece

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My first impression and ideas  for "Waiting for Godot"

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My first impression and ideas  for "Waiting for Godot"

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I came across this script in lesson when we were researching what script we would want to direct and I immediately like it. Knowing this I knew that I if I had the chance I would try and direct it. Once I made the choice to change scripts I knew that I had made the right decision as I knew how I wanted to move forward with it and had already made a lot of practical decisions towards it before I had started rehearsing it.

From the the start of the script I always felt like Vladimir and estragon had knew each longer for then they are stated to. I feel like there relationship is very much like that of a married couple and that can be seen alot  in there bickering. There relationship is very endearing and I do believe that it will be really interesting explore and see what more I can unearth from the script

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During halfterm I reveiwed my script and realized that there would be a few issue if I were to move forward with it. One of the main problems would be the length of it, it would have required a lot of cutting and changing which I didn't think I would effectively be able to do without affecting the flow and and build of the piece.

This is why I decided to make a switch of scripts, at the beginning of the directing unit we research and rehearse several different extracts of plays. One of which is "waiting for Godot" , this play is really quriky and and interesting piece that I think would be really fun to explore and create this piece with my two actors

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I have chosen to do a play called Doris day which focuses on the experience of two women in the police force. Daisy is new to the police force that Anna is apart and is having trouble getting settled And get little sympathy from Anna. The extend of there relationship is unknown but the script give you the impression that the two woman have know each other for a long time and have built a strong and interesting dynamic.

The women try there best to support each other but Anna find it hard to show empathy to the struggles that daisy is facing. The piece can be rather dark at times and the women talk about very poignant themes with a sence of calm normality, most the time this themes are brought up by Anna which shows us how harden the police has made her

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Lloyd grew up in Nempnett Thrudwell. After she graduated from Birmingham college where she studied MA English she spend 5 years working for the BBC television drama. In 1985 she was awarded an arts council of Great Britain bursary to be a trainee director at wolsey theatre in Ipswich. The following year she was appointed associate director for the Everyman theatre and then in 1989 she was made associate director at the Bristol old Vic

She has directed two movies one be mamma mia and the second being the critically acclaimed the Iron Lady.

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Jerzy was born on 11 august 1933 in the city of Rzeszów, Poland. When the war started in 1939 happen his family was ripped apart due to his farther going off to war and never returning. This meant that his mother , brother and himself moved to the small village of Nienadówka. It was in this village that jerzy experience that would build and shape him for his future. His mother also played a huge influence on him because of her strong belief on unity and community.

He made his directorial debut in 1958 with the production of 'gods of rains' which introduced the world to his bold approach with text.

Key parts of his style of were movement, naturalism and method acting, he also wanted his actor to use emotional memory

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Katie mitchell was born on the 23 September 1964 and raised in Hermitage , Berkshire she was educated at Oakham school and later went on to go to Magdalen college in oxford to read and studied English.

Her career began behind the the scene at the kings head theatre before taking on the role of assistant director companies including Paines Plough and the royal Shakespeare company. Early in her career she directed several productions under her company "Classics on a shoestrings"

In 1997 she became responsible for programming at the other places - which is the now defunct royal Shakespeare company black box space. She directed several plays there one of which was " The Phoenician women" which won her an "Evening Standards" award for best director.

Her work is often very naturalistic and is very ambitious, for the latter she has been scrotinized by critics and left England because of this reason, she has spent years abroad directing work which critics over sea love.

Her rehearsal technique are long and intensive and take on elements of stanislavski methods and work, she regularly involves psychiatry.

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It is the arch that separated the stage and the audience this serve as the frame of all the action on stage and also the fourth wall to the actors

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A promenade stage is where the audience will stand and walk to different areas of the performance space and watch a scene unfold. This means the audience gets to decide what part of a performance they want to watch and in what order

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A traverse stage is a stage which as the audience sat on either side of the stage. There are practical issues with this form of staging as the actor on stage may fine themselves turning there back to the audience.

However this style of staging also give the show a more intimate feeling and can be use to get an effort out of the audience

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A Thrust stage is a one that extends into the audience on three sides and is connected to backstage by the upstage two sides.

Thrust staging first appeared in Greek theatre and has been copied at use by the pageant
Community.