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analyzing scene 4

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In this lesson we read through the script as a class and at the end gave our initial opinions on it.

My initial opinion on this script is that it is definitely quite funny, but confusing, abstract and quite repetitive. I do like the play and I am excited for turn it into a reality but I think it will be quite a challenge because it's so hard to decifer and differentiate the characters from each other and I think a lot of time will be in creating our own opinions on the script and the characters. I agree that our group is fit for this job and I believe that we can bring these characters to life and give them more 3 dimensionality.

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in this lesson we did our auditions.

I feel I was somewhat successful with my audition, we weren't given very much time and I struggle with learning lines so I tried very hard the night before to learn the words for the audition, though the scene I chose was very short and didn't display the character very well. I chose that scene because it had the least amount of lines,

I found it hard to learn because the dialogue is so casual and awkward, a lot of 'um's and 'oh's and repeating words, which is very similar to people talk in real life so it works forth play but as someone like me trying to learn the lines I get so mixed up what order the words go in because they dont make much sense.

despite that I tried my hardest on the audition and was very nervous, I could have done better but I dont think it went to bad, I was one of the few people off script and one of the only people auditioning for the chicken character (number 14).

I heard from somebody else that they thought my audition wasn't very good and that I messed up, but I did make a mistake on one line but I improvised it on the spot and i dont think anyone who didn't have the script would have noticed and it still made just as much sense when I changed the words slightly so I didn't think it was so bad, but I do think the way I said the lines sounded like I was confused or nervous but I acted that way on purpose because thats the point of that scene.

Why would you like to audition for this role? 🤔

I am always a fan of characters that are related to animals in some way, I already know ill be doing a lot of work with prop making and costume making and I would like to make a chickens themed costume that I can actually use, because in the last play we did I dint get to use the props that I made. I also think the chickens character will stand out a little more then some others but wont have too many lines to learn thankfully.

What skills do you have to execute this role?

I think in this play a lot of the characters act very similar, I think that is because it is a dream and in dreams the overall vibe is quite uncanny and serious, so most of the characters talk and act in the same very natural but slightly odd way so picking a character was slightly tricky for me, but I think I can execute the role of the chickens quit well because they seem so shy and submissive which despite being a side of my self I dont like to own up to I am definitely a bit like that and think I can use that to embody this character quite well.

What is happening in the scene?💪

the chickens is talking to 22 about overhearing them talking to themselves, the chickens feels like they relate to them and wants to offer them support but 22 declines in a slightly judgmental way. the chickens is a slightly shy and timid person and accepts what they say and leaves them alone.

What is your character’s goal? 🎯

my characters goal in this scene is to be a nice and supportive person. but in the entire play their goal is to escape being slaughtered and help the other chickens.

Who are they talking to, and how do they feel about this person? 💬

number 14 is talking to number 22, its their first time meeting, 14 is trying to be nice and supportive but is slightly rudely talked to, and so number 14 cowers and gets slightly shy about it, and lets 22 talk to them like this. (number 14 is quite submissive)

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Today we did ensemble work for our FMP, it will help us all work together as a group.

we did a lot of walking around, filling the space, thinking on our feet, being confident and self assured, hand to eye coordination and working on common impulses. As we have learned in the past this is all very useful it helps warm up your body and get you in the physical and mental state to be able to act to your full potential, it also will help sharpen your mind and build you skills.

all of these things will be helpful for our performance as we will be focusing more on ensemble work.

we learned about the Laben efforts technique,

direction, speed, weight and energy, this was helpful to create a character, that even with just a way a person carries them self there is a lot of character that you can create which is shown by many aspects and being bal to master all of them will make you a good actor.

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we focused on leadership skills, and some people lead the activities. being a good leader is imperal to becoming a good actor. being able to project your voice and comand people, captivate them with your words and have them listen to you is important for life and also refelects of your ability to be a good a actor.

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Research the term post-dramatic theatre. 🧐

The term was coined by a man called Hans-Thies Lehmann, it was first featured in the book he made. Post-dramatic theatre is when you create a performance that dissent follows the usual storytelling structure. Hopping between times for no reason, portraying things differently focusing more on aesthetics, performance, and experience rather than plot-driven narratives are all different elements of post-dramatic theatre.

How does post-dramatic theatre differ from traditional dramatic theatre? 🤔

Regular theatre usually has a linear timeline, a middle end, and a start. The characters are clear and have meaning and development and it is supposed to be an immersive story that you are meant to be one with, whereas post-dramatic theatre is the opposite.

Research at least two key practitioners or theatre companies associated with post-dramatic theatre (e.g., Heiner Müller, Forced Entertainment, The Wooster Group). 🎭👥

Heiner Müller was a German playwright and for fun, he would take plays and remove their linear storytelling, he also created some post-dramatic performances that were similar to what Lehnmann had created, focusing on disjointed imagery, surreal settings, and symbolic gestures. Forced Entertainment embodies many characteristics of post-dramatic theatre. They include: Deconstruction of Narrative & Fragmentation, Direct Address,  Improvisation, and Minimalism.

Identify and explain at least five key characteristics of post-dramatic theatre. 📝💡

Nonlinear narrative: meaning the performance is in disjointed orders and skips between times meaninglessly

Performance over text: there's less of a focus on script and more on abstract movement and gestural sounds and visuals.

Audience involvement: your not just watching the play you are part of the story by breaking the fourth wall and addressing the audience directly.

Nonrealistic world: regular theatre tries to mimic reality but in post-dramatic theatre,e they don't care about making it realistic

Multimedia: they incorporate different things such as dance and digital media.

Postdramatic theatre - Wikipedia

German Literature - Heiner Müller

Forced Entertainment | About Us - Forced Entertainment

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In preparation for the show, I have started to listen to songs that I think remind me of dreams. I think it is useful to listen to these songs as it makes me feel as if I understand the uncanny feelings you may get in a dream, recently iv started to have some very strange uncanny dreams where I know I'm dreaming and it keeps looping around and around similarly to the play, and so these songs make me feel similar feelings to what I feel in these dream and I think it helps me when feeling more part of the play.

Some songs I've found:

Peepy's theme by item label

Light Shower by Melanie Martinez

PFUDOR by fluffle puff

HANSEL by SODIKKEN

The amazing digital circus theme

konoyo loading

I'd rather sleep by Kero Kero Bonito

daisy bell

Any song by Jack Stauber

Possibly in Michigan

fallen down from Undertale

warm nights xori

Treehouse Alex G

baby my phone

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we choreographed a dream theme dance after a quick workout.

in groups we made small dances using everyone's input and then we merged all the dances together to create one big dance, it was interesting and useful working together on a dance even though not all of us are very good at dancing it is still useful to hear everyone's input

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This lesson was a workshop, I found it very useful.

Megan was the lady who came and did the workshop with us. What stood out about her to me was that she reminded me of my English teacher from secondary school, Miss E-P, who I am very close with.

I often find people who remind me of her, both personality-wise and looks, though the reason this is significant is that I often find that that kind of personality stands out. Megan was very intense and pushed us; she was loud, confident, talented, assertive, and exciting. She was like a much more brutal Miss E-P, which was both comforting and scary to experience.

I felt slightly overwhelmed the entire time, but she managed to get me working, and that is good!

In the workshop, we first started walking around as if we were being led by different points of our bodies: nose, head, chest, pelvis.

Megan focuses today on characterization. This first exercise was useful because so many different personalities can be portrayed with just the way you carry yourself, and for an audience to notice that straight away is very powerful.

We then acted out being at a train station in character. My character is quite timid, submissive, and lonely, so I kept my body language reserved and small. I think there was a lot of parallel in that to how I carry myself in certain situations in real life. I often feel anxious and try to make myself as small as possible. Hence, I don't feel like people will notice me in a space, and so I used this as an advantage to channel those feelings, and I think I portrayed that well.

Next, we did the morning routine of our characters 5 times. This was useful to get into the mindset of our characters and feel like we've been in that mindset for a while because I felt like I was that character after the first few times. Since I knew off by heart what to do, how to do it, and when to do it, it felt like I was living my character's life for that moment, doing something small, monotonous, and private.

Lastly, we sat on a chair in turns and had questions asked to us. I think after all of the improv work we have done recently, I think that helped, and I think my character is quite easy for me to put myself into the shoes of. I know my character's motive intentions and goals and also their characteristics, so I know the tone in which I will answer and what things I will say.

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Today we wrote questions and facts about our characters, this was useful to understand the core principles of the chacrters were portraying, I think I did a good job with this, I came up with 11 facts and 10 questions, I was then able to easily answer them and I now feel like I have an understanding of my character more then I did before.

We also made mini monologues of our characters, I decided to write about my characters initial thoughts of slaughtering chickens, justifying their beliefs and giving more context to how they feel about humans, chicken's, and who they are as a person, beyond what the script includes. I think it was in character and useful!

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We sorted out what our roles would be. I am 14, and I will also appear at the end for some lines. I already have planned that I will be working on a lot of props and costumes for the performance, so I have chosen to have fewer lines. I appear in around 4 scenes.

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In this lesson, we carried on with what we did last time, making a routine to hopefully include in the play. We adjusted a couple pieces of movement, but overall we just practiced it with the people who weren't present last lesson

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We started by watching a video on post dramatic theatre, I feel that this was very useful for gusto be able to hear and visualise what post dramatic theatre is, we learned that a particular feature of post dramatic theatre is that some directors choose to make certain moments more in different unnatural speed, such as slow motion.

In this lesson we did see activities like walking around, doing actions, mining in slow motion and making some mini performances including these characteristics.

doing these things were useful to me because it taught me that there an be a lot of power in the time it takes to do certain movements, speed can add a lot of drmatival effect twether that is fats or slow. its a useful technique to use and can better crate the vive of post dramatic theatre which I find quite uncanny m=abstrat and whimsical], fuy

w eta sprouts that we have to fulfil l in our mini performances, less words, sound scape, slow motion moving and other things,

this created a very spooky and eerie atmosphere

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in groups we wrote about some scenes.

I wrote about scene 3 2 and 1. this is useful because having a deep understanding of the scenes, characters and context is vital to interpreting it and adding to it. after this we discussed as a class so we can all find out about it together.

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We worked on scene 1 and 2 in this lesson, I was not in these scene, but all of the cast lay on the floor at the opening which Is effective and I also enjoy.

I sat and watch white the people in the scene rehearsed, its important for me to watch and pay good attention so I can understand what’s going on and be able too contribute . I also use the time to start writing down all the props that are going to be needed and also designing costumes.

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my struggles with my character

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In this lesson, we worked on the next few scenes of the play, I used this time to continue my prop list and finish my designs for some costumes.

I was in one of the scenes, I now know where I will enter and exit from, where I ill go what ill say and what actions I will do.

I will sit on the chair and say my lines, my legs resting on top of the table. I'll then look to the sky as a talk. I'll hold the chicken in my arms and hug it; I'll take it with me as I go back stage.

I think this will be very effective, but I'm also very nervous that I'll be on stage all on my own for the first time in my entire life! But it'd a short scene, and as long as I know my lines entirely off by heart then i should have nothing to worry about, and at least i wont have to worry about anyone else having to do any cues or remembering their lines because its just me, i also dont have to look at the audience.

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Research Simon Longman: 🔍

Simon Longman is a British playwright, he is well known for how he portrays everyday life. He grew up in the countryside, which impacted his work; he likes to write about the challenges of living in those kinds of environments. Longman has also added to the arts community as an ‘Associate Artist at Kestrel Theatre Company’, collaborating with prisons across the UK, and serves as a ‘Lecturer in Scriptwriting at Bath Spa University’. He has written Gundog, Milked, Island Town, Sparks, and Patient Light. Some common themes in his writing are high emotions, often in a rural landscape, topics of aspiration, and human relationships. He likes to portray feelings of entrapment in this play.

Complete the Attached Document: 📄

1. Biography:

What is the playwright’s full name?  Simon Longman

Where was the playwright born and raised? West Midlands

What educational background does the playwright have? He studies drama in Manchester.

Are there any significant life events or experiences that have influenced the playwright's career? Living in rural areas, Royal Court Young Writers Programme, Winning the Channel 4 Playwrights' Scheme & George Devine Award, Working with Priso.ns

Career and Works:

What is the playwright best known for in the field of theater? He's best known for creating stories about rural living and focusing on overlooked communities.

What themes or subjects does the playwright’s work often explore? Human connections, loneliness, grief, you , and nature

Can you name some of the playwright’s most notable plays or productions?  Gundog, Milked, Island Town, Sparks, and Patient Light

3. Style and Influences:

How would you describe the playwright’s writing style? E.g. classical or contemporary contemporary

4. Impact and Recognition:

Has the playwright received any awards or recognition for her work as a playwright? 49th George Devine Award and  Channel 4 Playwrights' Scheme

How have the playwright's plays been received by audiences and critics? He is mostly well-received and respected in the industry as a successful and good playwright.

5. Personal Reflection:

Based on your research, what do you find most intriguing or inspiring about the playwright? I think he is quite intriguing. His plays all seem quite different from mainstream, and I think that is pretty cool.

Simon - Sala Beckett

Simon Longman interview - Entertainment Focus

IslandTown:: Modern Plays Simon Longman Methuen Drama

Simon Longman Playwright

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in this lesson, we once again worked on the funeral dance and the other dance we created, fine-tuning and cleaning it up.

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Robert Wilson was born on October 4th, 1941. Robert Wilson has a degree in interior design from the Pratt Institute in Brooklyn. This means he understands and likes set design and a space's aesthetics, which impact how he writes. Robert Wilson was also taught by a painter called George McNeil, giving him a background in the visual arts. He also did work with dance and movement. Some people he worked with were George Balanchine, Merce Cunningham, and Martha Graham. These people all contributed to helping him get a wider understanding of choreography. All of these disciplines are shown in his plays. In the mid-1960s, He founded the ‘Byrd Hoffman School of Byrds’, which is an experimental performance collective in New York City. He also created some performances early on in his career, such as Deafman Glance and A Letter for Queen Victoria. Many people have given their views on Wilson. The New York Times described him as “a towering figure in the world of experimental theater and an explorer in the uses of time and space on stage.” Many people have praised him for his use of dance, movement, lighting, sculpture, music, and text. Susan Sontag praised Wilson's work, saying, “ I can’t think of any body of work as large or as influential.”

A key characteristic of Robert Wilson's work is movement, he often uses it instead of words to convey meanings in more unconventional ways. He also uses lighting, he considers it to be the most important part of theatre. In his performances, they are known to have a lot of intricate lighting and hundreds of different cues, once again using this as an alternative way to traditional ways of storytelling. He also uses sound. He's known for collaborating with composers, he works on creating interesting soundscapes and layering sounds to create a complex atmosphere that further emphasizes the stories he is displaying. Wilson also uses text, but uses it unconventionally; he often purposefully lacks expression and makes the delivery monotone. He also uses set design in a mostly simplistic way; his sets are minimalistic but impactful, and he uses bold colours and geometric shapes. Robert Wilson likes to emphasize time in his performances, highlighting certain movements by slowing them down or speeding them up. Not only does this emphasize moments, but it also can create deep silences that can make more of an impact and hold the attention of the audience. Wilson uses postdramatic theatre and visual theatre, which makes him different from other playwrights. His performances are not linear or normal; they're abstract and focus on other elements rather than dialogue, like most traditional theatre pieces.

I watched over 2 hours of Einstien on the Beach, and I noticed there were contrasting moments of fast movement and slow motion movement, these often were done at the same time by different people or switched at moments, all of this layering together created a very deep, mesmerising atmosphere. The lighting was quite simplistic, not flashing, no colours, just dark, mysterious lights and spotlights. This was effective at keeping focus on the parts of the story that were most important. As for sound, there was an orchestra of people playing instruments at moments, often slow, quiet, or fast and loud, creating an intense feel throughout the performance. There were also human sound effects used to create an eerie soundscape. Wilson used things such as set design, music, movement, and costume to put across ideas and concepts. There were few words and the words were mostly said in a monotone or repetitive way, so there wasn't much story being told through the dialogue; rather, it was displayed in the other elements, such as movement, and this is quite different from traditional theatre. I believe that this production and his style in a general sense convey complex emotions and themes such as panic, injustice, joy, sadness, and anger; these are all displayed in the different media that he uses in these productions.

Robert Wilson - Guild Hall

Robert Wilson | American Theatre Director & Producer | Britannica

Robert Wilson - The Watermill Center

Robert Wilson – Theater without the Drama

Light as an Active Participant in Space: Robert Wilson’s Minimalist Approach to Stage Lighting | ArchDaily

Robert Wilson – The Theatre of Visuals – Out of the Box

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Today we did some warm ups to get back into the mood of preforming arts after the holiday. after this we then started to work on scenes, I sat and watched taking notes on tops and costumes. at the end we went through one of my scenes, in this scene we worked on blocking,

I will walk into stage with a torch il put it down and a spotlight will come up, ill burry the chickens in a flower bed, cover them u and put some courses on them, ill say some lines, look up at the sky, and then the spotlight will come back onto me again once I'm alone and ill say my lines.

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In today's lesson, we were doing rehearsals once again, we went over quite a few scenes. I was in scene 8,

What I learned in terms of blocking for this scene is that I will come in through the back door again. I will stand next to Jay (who plays the character who cuts legs off). I will put a hand on her shoulder as I try to comfort her, saying my lines. Once she shuts me down, I step back slightly and awkwardly reply. After that, Jay will walk off stage, and I'll look at her as I reply. Still, once she disappears, I look to the audience, saying some of my line, and then the last part of my line, I'll say while walking off.

Other than that, I took note of props and costumes some more. I think this lesson went very well. I was on my A-game, and we all progressed in the rehearsal process quite far. I have a lot of faith in this production, and I am very excited for it. I will continue to practice my lines every day until I am 100% confident.

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In this lesson, we worked on a movement piece for one of the scenes in this play. In this scene, a character will be talking through a speaker while the rest of the class will be doing a movement piece.

We choreographed a piece where we all move slowly towards each other and then circle, and then disperse. It is simple but effective

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In this lesson, we focused on the funeral scene. In this scene, we are all present and say our lines in a triangle formation, there are various actions. I am at the front, I have highlighted and annotated my script so I can memorise my actions and timing. We then started to rehearse from the top, which is very beneficial for us, so we can get used to how the scenes flow. I also realize that every time I rewatch the play while rehearsing, I'm slowly understanding more and more about the play that I didn't know about before.

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In this lesson, we did independent rehearsals of as many scenes as we could. I tried to go off script so I could see how much I remembered, and I think I did alright.

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In this lesson, we focused on the movement pieces. I think adding movement to this performance will make it stand out more, add other layers of excitement, and add a dramatic effect. I will make sure to practice these.

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In this lesson, we focused on the movement pieces. I think adding movement to this performance will make it stand out more, add other layers of excitement, and add a dramatic effect. I will make sure to practice these. We worked on a chicken movement scene but it needs work as i don't think we've made an effective movement piece yet.

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we did some reherslas in this lesson, when rehrasing i am constantly thinking about my peformance and how i can improve, i tihnk baout my line and my deliveryfocusing on things such as my projection andmeriosing, rehersals are a grwta way to test my selfg on what i know and oce i knowm y ife sfof b gy heart i dojt need to worry about being nervous as much ebcause iknwo ti and then i will ve

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In this lesson, we started by walking like our characters. For me, I did a slightly timid and light walk. We then had to say a line of dialogue. I chose a particular line from the play that I find very hard to find a convincing way to say convincingly, and so I am practicing it. we then started a full run of the play, I found this to help understand the play better and also to better perform my scenes.

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we finished our full run of the play. I think I did alright, but I messed up a few times, but it is okay because in the future I will do better and I will take it as a learning experience

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In this lesson, we rehearsed specific scenes, while some scenes were being worked on, I took the time to do some costume designs.

scene 8 was rehearsed, and I made sure to take notes on what changes were made to that scene. I will also plan to rehearse that scene with my scene partner because I think it can only be effective if we rehearse it a lot of times.

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1. Memory and the Past

In scene 1, there is a mention of the past, how the dreams come back around like a circle, which means there is a reference to the past and time. Number 1 always remembers the same thing happening, referring to memories.

In scene 6, there is a farmer and they are dressed in the olden days and also are aware that they are from the past, as well a their dad

.

2. Trauma and Healing:

In scene 3, the characters discuss jobs that they were told they should do. Most of the talk is about how they have a very strong hatred for that job, such as hating small spaces or hating fish, maybe that could be due to past trauma surrounding those things.

Scene 8: 21 is traumatized from being forced to cut people's limbs off

Scene 17: The chicken holds a funeral for the other chickens

Scene 22: The water carriers find the dead fish and start to feel guilty. Maybe the dead fish represents some traumatic event.

24: The cow gets revenge on the people who kill cows

Scene 25: They have a funeral and talk about the person who died and life in general

3. Time and Reality:

In scene one, the dreams are mentioned to be repeating, and time doesn't exist in the dream.

In scene 3, they discuss dreams they had, but that scene is also a dream.

In scene five, the ominous voice talks about circles and dreams, referring to the past and time, and memory

Scene 14: They debate whether you can die in a dream and what life after death is

Scene 17: The chicken knows they are in a dream and tries to reach out to the person dreaming

Scene 19: The characters are forced to be water carriers even though they are aware that that job doesn't exist anymore

4. Connection and Isolation:

Nobody understands number one in scene one because they are dreaming, and everyone in the dream is unaware of what that feels like.

In scene 6, the farmer says that they are lonely and feel isolated

Scene 8: 21 feels isolated from being forced to cut off limbs

5. Dreams and the Subconscious:

Every single scene of the play is believed to be a dream; most of the time, there is at least one character on the stage who knows that it is a dream, and the other characters are figments of their imagination.

In scene 3, they discuss dreams they had, but that scene is also a dream.

Scene 4 has a bunch of characters who are in a dream and don't realise it, but the chicken is self-aware and breaks the fourth wall.

In scene 5, the voice discusses a dream.

In scene 6, number 15 doesn't notice the year in a dream until the farmer mentions something unrealistic, and the farmer knows they are an unreal person in the dream.

In scene 7, 19 remembers the events happening in a dream because they are still dreaming, and it's just looping over again.

Scene 10: 24 tried to wake up once their dad tried to kill them

Scene 14: They discuss whether you can die in a dream

Scene 15: One of the characters is forced by their dad to do their job, and so he has a dream about it

Scene 17: The chicken knows they are in a dream and tries to reach out to the person dreaming

Scene 21: They explain a dream they had about getting shot by a cow

Scene 26: it's back to the xstart and goes again in a circle forever

Social Themes:

1. Family and Dysfunction:

In scene 6, the farmer doesn't like their father and doesn't want to do the job he made them do

Scene 10: 24 is forced to be a butcher because their dad made them do it, and their dad shouts at them

Scene 15: One of the characters is forced by their dad to do their job, and so he has a dream about it

Scene 18: One of the miners doesn't like their dad

2. Mental Health and Emotional Struggles:

In scene one, number one said that they are unhappy about being in the dream; their mental health is deteriorating

In scene 5, the voice seems to be emotionally stressed and distraught

Scene 8: 21 suffers mentally and struggles to cope with the trauma that comes with cutting off people's limbs

Scene 22: The water carries the dead fish, and starts to feel guilty

3. Intergenerational Trauma:  scene 3, they talk about a kid who got butchered, and his dad is a butcher.. This may represent intergenerational trauma.

In scene 6, the farmer has no friends because their father stops them from meeting people and shoots everyone who comes near.

Scene 10: 24 sees their dad as a kid their age, which represents how they view their dad as childish and making bad choices

4. Loneliness and Social Disconnection:

In scene 1, number 1 is upset about feeling disconnected from the real world and being in a dream,

In scene 2, 4 comes across as a pretty lonely person as they talk to the fishmonger worker.

In scene 4, number 12 may be the person who is dreaming, they feel like they aren't being heard by their friends who are talking over them.

In Acne 6, the farmer is lonely

Scene 17: The chicken is lying

Scene 22: They let the fish die

5. The Search for Meaning and Identity:

In scene 2, number 4 talks about bringing crabs back to life as a way to represent the way they're confused about what job and their purpose they have.

In scene 3, they discuss jobs they may have.

I scene 4, 12, is confused about the chicken that falls from the sky

Scene 7 represents doing the same laborious tasks over and over again with no meaning

Scene 11: Someone has a dream about match dipper, old jobs present the lack of purpose they feel

Scene 14: one of the characters is bad at candle making, but is forced to make candles, and so they feel like they have no true meaning anymore, and have no hope left

Scene 18: The miner wants the planet to hit Earth because they want something to make them feel like there is meaning to life

Scene 24: The cow gets revenge, but doesn't feel great about it.. Revenge is barely important since the world is already ruined

6. The Influence of Society on Personal Struggles:

In scene 2, number 4 has given up on their life goals because they have been told that theft is not a viable option,

In acne e3, a careers adviser told them what jobs they should have.

In Acne 7, the characters are forced to pick apples because they are afraid of the consequences of not getting a job.

Scene 11: 26 doesn't want to be alone, so they don't mind breaking their legs just so they can join the others.

Scene 14: one of the characters is bad at candle making, but is forced to make candles, and so they feel like they have no true meaning anymore, and have no hope left

Scene 17: The chicken is upset about the slaughter of the chickens

Scene 21: they feel like a dream to be an astronaut is impossible

Scene 24: The cow gets revenge, but doesn't feel great about i., Revenge is barely important since the world is already ruined

Scene 25: They have a funeral and talk about the person who died and life in general

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In this lesson, we rehearsed our movement pieces. Being able to do this over and over again as a class is beneficial for us, so we can get it down and get better at enabling work with our class. I personally struggle with movement pieces as I always forget what to do, and I'm not very good at moving my body, but I think if we continue to rehearse this, then it will get easier.

We also added some more movement to the chicken and butcher scene, scene 16,

I must practice this more

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In this lesson we began by rehearsing the scene with the cow, While this was happening I decided to rehearse my lines in my head. After this we went over the funeral scene, I remembered my lines better for this and. will fondue to rehearse it because it is a movement piece which requires a lot of ensumble work. After this I found some supplies that will be used for prop making!

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talking about my strengths and weaknesses with lines and memorisng.

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talking about how i will overcome those problems.

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why i chose number 14

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scene 4 part 2

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part three

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part 4

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part 5

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scene 4 analysis final part

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scene 8 part 1

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scene 8 part 2

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scene 8 part 3

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scene 8 part 4

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scene 8 part 5

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scene seventeen part 1

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scene 17 part 2

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scene 17 part 3

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scene 17 part 4

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scene 17 part 5

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Today, we ran through some of the scenes, focusing on coming up with final ideas for the scenes, making any last-minute changes, and sorting out loose ends. We only had time for one of my scenes, but I used it as a chance to practice my delivery. However, i feel that even after my 2 hours of voice recordings where i analysed my delivery i still forgot some things and didnt exactly deliver the lines how i want to, this is due to not remebering and just being nervous, i think to fix this i should try relistening to my voice recordings and practice it some more as i feel the dilivery of my lines is specfically crucial for my character. I also made sure to write down my stage directions so i can remember them

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In this lesson we did some of our movement pieces, i found it was useful to go over my movement piece with the butcher as i had only done it once before and need to remember my cues, though i think I'm going a pretty good job with it and believe i can execute it quite well. Still, I am nervous when it comes to remembering what scenes I'm in and my cues.

we also did some runs of other scenes. I unfortunately may have missed one of my lines in my monologue, I can't remember if I said it or not, but to make up for that, I will continue to practice my lines to make sure that won't happen on the day

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I'm concerned that I will forget my cues on the day of the performance because the play is so random in terms of scene order, it's hard for me to remember at what point I need to be on the stage, even with my script in front of me, i still find it tricky. i know when my cues are i just struggle to execute it when running through the play, i think the solution to this problem is to run it more times so i can get a better feel of how the play runs through and i will be comfortable with the transitions between scenes but i find we dont have much time in lessons to go through scenes and not everyone is in every day so we struggle to do real run throughs, i would like the class to rehearse outside of lesson but that never seems to happen. I will try to write down my cues and memorise when I am on stage.

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We did another full run-through of the play. I wrote down all of my cue lines and directions and will try my hardest to remember them. i find it useful to write down what i need to do while im doing it so the memory is imprinted in my mind. It also helps me so i cn write down wat is actyally nessasry to me, as a lot of set changes are very simple the time around and tehy come natrually to me so i dont need to focus on memrosing that where as remebering the first word to the line sin that scnee is much more impoetant for me or to rember to pit my props in teh correct place so i cna pick them up in time

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A big problem-solving moment for me in this FMP was my endeavor surrounding my plan to make props and costumes for my production role.

To make props and costumes, I need quite a lot of supplies. I was able to use the supplies that I bought for most of it, but some things I needed help getting. I made a list on eBay, but I then came across the problem that it would cost to much money, so i traveled around the college and asked several people to help me find the supplies i needed, unfortunately most of it was not perfectly ideal, but so far i have been able to work with what i have, the props are not of the exact quality i would like them to be but with the supplies iv gotten a hold of and the time i have i think so far its coming together fine.

A lot of the fabrics I found were scraps and not big enough for me to use, and I unfortunately have to use colours that I don't prefer and don't align with my vision. But I will try my best with what I have.

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Scientists still don't understand dreaming to this day, they know more about the solar system than dreaming. They did know that dreaming usually happens during REM, rapid eye movements, which is part of your deepest sleep. Some scientists believe that during REM, you feel a lot of negative emotions, such as anxiety, and so dreams are something designed to prepare you for threats. But other people believe that there isn't a function to dreams and they are just a mishap in the design of a person. And they happen because your brain is sorting out your memories, compiling many things that have happened before, and turning them into a random story. But dreams do likely have a real function because many different functions of the human body make it so dreams can happen, such as certain motor neurons that cause your body to be paralyzed during dreams, so your body doesn't act out what's happening physically. there fore if that and other things are put in place to make dreams happen, then it can't just be a useless mistake that happens with the body

Dreaming Breaks Science...

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Lucid dreaming is when you are aware of what is happening in your dreams, it's when you can control what you will do and are partly conscious in your dream. I've had many lucid dreams in my life and for a while was able to purposely have them, there are many methods to do that, but in these dreams you must be able to believe that you are dreaming and because you are doing that then you realize you can do whatever you want.

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When making the giant scissors I had a lot of trouble figuring out what scissors look like and how I would make it match up when making the big version, so I decided to draw them on paper to try and figure out how they work I also looked at many different references

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While making the cardboard items I realised that the type of cardboard I was using, despite being very firm and thick like I wanted it was also very easy to bend and when it bends its no longer stable, and so I had to use a different kind of cardboard to to support the bad parts

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I attached the scissors using a screw and a bolt, I originally planned to use split pins but they weren’t strong enough to keep it up. Despite all of my work trying to figure out how scissors work I originally made the curved side on the inside and had to cut it to curve the right way, thankfully I didn’t have to remake them

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I made one of the sides too thin meaning it’s support isn't very good and it’s uneven, I wish I could change it but all I could do is make the other side thinner

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The fabric that I was given was only small scraps so I had to sew pieces together so I could make the wings

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The fabric that I was given for the hot dog stained by the hot glue so I hand sewed as much as I could but all I had was dark green thread so I had to glue more fabric over the top, i don’t like how it turned out but that was the best I could do unfortunately

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Some things needed to be coloured orange and yellow so I put acrylic paint in spread bottles with water and sprayed them until they were dyed, it didn’t come out perfect but it’s the best I could do!

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Unfortunately the original plan I made for the cow costume didn’t work as I didn’t have enough fabric so I had to make a different version that used less fabric, and even with less fabric it may not fit the person who will be wearing it, so if that is the case I will try add elastic to certain parts

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I’m quite happy with my finished fish costume, it is quite different from my original idea because I had to may changes due to different materials and suplies but I’m pretty happy with how it turned out

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Here is the finished chicken costume, I’m very happy with this I think it definitely looks like a chicken and it came out better then I imagined it would, i made a few changes due to withe supplies I have along with nee ideas I got while creating it,

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I had a lot of problems with not having enough fabric for this costume, but I think it ended up alright. I managed to work with what I had; it even ended up bigger than needed. I think the design is very cute, and I'm very proud of it. It took me a long time to hand-sew every single patch and shave down all the fur. The headband also took quite a lot of time.

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1)

Benjamin Bloom, an American psychiatrist, created Bloom's taxonomy, a model designed to ensure that people understand a subject.

The six levels of thinking are Remembering, Understanding, Applying, Analysing, Evaluating, and Creating. Remember means you remember the information you have taken in, understanding is being able to summarise the information in your own words, apply means being able to use the information in other contexts and situations, analyse is to look deepr and have your own research on a topic, evaluating is being able to create your own judgemnt on a topic. And create is to have a great enough understanding of the topic to be able to create something new surrounding it

2)

Remembering: what are my lines? Understanding: What do my lines mean? Applying: how do my lines fit the scene? Analysing: what do my lines mean? Evaluating: how does my character feel? Creating: What would this character be like outside of the play?

It is incredibly useful to take a deeper look at a script or a character, you can only unlock your full potential if you are thinking deeply about who you are playing and their reasons, asking yourself questions related to blooms taxonomy is a very good way to do this a seach question challenges your understanding and guids you to ensureing that you can become a better performer.

3)

Bloom's taxonomy helps you reflect more effectively because it is more specific, and you can evaluate yourself more deeply as each step represents all the components needed to have a full understanding and capability of a topic.

https://youtu.be/NjOa6l4GFJA?si=I8TQU4lnVFZn2n1g

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Bloom's Taxonomy In 5 Minutes | Blooms Taxonomy Explained | What Is Bloom's Taxonomy? | Simplilearn

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Here was my first ideas for the cow and chicken costume. I wanted to make a full jacket, skirt, headband and tail for the cow costume, but due to lack of time and materials all I could make was a headband skirt and a vest. But my idea stayed mostly the same. Fluffy cow print outfit, stylish but also cow like enough.

For the chicken costume my end result came out pretty similar, the differences being that I decided to add fabric wigs and no feathers on the arms, I also made socks myself.

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Here are some rough notes I took of stage directions and cues, I did this during a rehearsal on the back of my script.

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Here is part of my annotated script for my movement scene.