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Today in drama was a very tricky lesson we had our Physical Theartre performance in a couple of days and we were stressing. We had been doing One Million To Stop The Traffik by Mark Wheeler. This had been a big change for us because we were going to make the  play brectian but we changed the play to physical

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We went to the lyric theatre and watched one of Anton Cheklovs plays. Stanislavski was influenced by Chekov's work. This play showed naturalistic acting. We saw this through the role of .......

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Tickets: http://amzn.to/2xwBRY6 Unrequited love. Creative jealousy. Guns. Vodka and Art. Chekhov's celebrated masterpiece The Seagull is given vibrant new life at the Lyric Hammersmith in a dynamic new adaptation by Olivier Award-winning playwright Simon Stephens (The Curious Incident of the Dog in the Night-Time), starring Lesley Sharp (The Full Monty, From Hell) as Irina Arkadina.

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Frantic Assembly | Masterclass: Learning to Fly | National Theatre

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These are the type of warm ups that we do to start off our lessons.This gets the class ready for any activities that the teacher has set for us.;

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Getting Older Scene - Round/By/Through Frantic Assembly

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Why are warm-ups  important in learning how to collaborate?

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Why are warm-ups  important in learning how to collaborate?

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Warm-ups are important physically because they prepare the body for any obstacles you have to overcome by increasing your heart rate and making your blood circulate. However, warm-ups are also important for your vocal and emotional state by helping you communicate formally with your peers.

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The Curious Incident of the Dog in the Night-Time - Official Trailer

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The Smith Center for the Performing Arts in Las Vegas

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Hailed as "One of the most fully immersive works ever to wallop Broadway" by The New York Times, this "dazzling" (Associated Press) adaptation is the Tony Award®-winning new play by Simon Stephens, adapted from Mark Haddon's best-selling novel and directed by Tony® winner for Curious Incident and War Horse Marianne Elliott.

Fifteen-year-old Christopher has an extraordinary brain; he is exceptionally intelligent but ill-equipped to interpret everyday life. When he falls under suspicion for killing his neighbor's dog, he sets out to identify the true culprit, which leads to an earth-shattering discovery and a journey that will change his life forever.

This play is a life-affirming journey with a point of view never seen before on Broadway.

Runtime: Approximately 150 minutes
Intermissions: One 20 Minute Intermission
Age Restricted Performance: Audiences will identify with the universal themes of family and human connection, but please be aware that this show contains some adult language, as well as moments of loud pulsing music, bright lighting and strobe effects. Although you know what is appropriate for your children, we recommend that this show is most suitable for ages 13 and older.
Pricing Information: Ticket prices are subject to change

CREATIVE

SIMON STEPHENS (Playwright)

Simon Stephens' play Birdland is currently running at the Royal Court Theatre with Andrew Scott in the central role. Blindsided premiered at the Royal Exchange in Manchester earlier this year. His play Port (originally produced at the Royal Exchange and also directed by Marianne Elliott) was revived at the National Theatre's Lyttelton Theatre last year. His other plays for the National are Harper Regan and On the Shore of the Wide World (co-production with Royal Exchange, Manchester: Olivier Award for Best New Play). His many other plays include Three Kingdoms, Wastwater, Punk Rock, Seawall, Pornography, Country Music, Christmas and Herons; A Thousand Stars Explode in the Sky (co-written with Robert Holman and David Eldridge); an adaptation of Jon Fosse's I Am the Wind and Motortown. His version of A Doll's House for the Young Vic transferred to the West End and then New York in 2014. Simon is an Associate at the Lyric, Hammersmith.

MARK HADDON (Author)

Mark Haddon's novel The Curious Incident of the Dog in the Night-Time was published in 2003. It was the winner of more than 17 literary awards, including prizes in Japan, Holland and Italy as well as the Whitbread Book of the Year Award in the UK in 2004, and was translated into 44 languages. A Spot of Bother, published in 2006, was also an international bestseller. As well as writing fiction, Mark Haddon's first work for the theatre, Polar Bears, was produced by the Donmar Warehouse in 2010. He has written 15 books for children, published a first collection of poetry in 2005 and is an illustrator and award-winning screenwriter. The Red House, Mark Haddon's new novel was recently published by Vintage in paperback.

MARIANNE ELLIOTT (Director)

Marianne Elliott is an Associate Director of the National Theatre, where she has directed - The Light Princess (National Theatre) The Curious Incident of the Dog in the Night-Time (West End - Olivier Award), Port, Season's Greetings, Women Beware Women, All's Well That Ends Well, War Horse (West End, New York - Tony Award & US Tour, Toronto, Australia, European Tour), Mrs Affleck, Harper Regan, Saint Joan (Olivier Award for Best Revival, South Bank Show Award), Therese Raquin and Pillars of the Community (Evening Standard Best Director Award).

BUNNY CHRISTIE (Scenic & Costume Designer)

PAULE CONSTABLE (Lighting Designer)

FINN ROSS (Video Designer)

SCOTT GRAHAM and STEVEN HOGGETT for Frantic Assembly (Choreography)

SCOTT GRAHAM for Frantic Assembly
Scott Graham is Artistic Director and co-founder of Frantic Assembly. His has recently directed The Believers. For Frantic, he has also co-directed Little Dogs (with National Theatre Wales), Lovesong, Beautiful Burnout (with National Theatre of Scotland, Fringe First), Othello (TMA award - Best Direction), Stockholm, pool (no water), Dirty Wonderland, Rabbit, Peepshow and Underworld. Director/ performer credits include Hymns, Tiny Dynamite, On Blindness, Heavenly, Sell Out, Zero, Flesh, Klub and Look Back in Anger. Scott Graham's other directing credits include: Home (National Theatre of Scotland) and Ker-ching (Sixth Sense). He has also provided choreography and movement direction for The Merchant of Venice for Singapore Repertory Company, Praxis Makes Perfect for National Theatre Wales; The Canticles at Brighton Festival/ Aldeburgh Music; Port, Hothouse and Market Boy at the National Theatre; Dr Dee for Manchester International Festival/ ENO; Beauty and the Beast and Cinderella at the Unicorn; Frankenstein for the Royal & Derngate; The May Queen at Liverpool Everyman; Villette at Stephen Joseph Theatre; Dazzling Medusa and A Bear Called Paddington for Polka; and Stuart Little on tour. With Steven Hoggett and Bryony Lavery, he created It Snows, a National Theatre Connections play. With Steven Hoggett, he has written The Frantic Assembly Book of Devising Theatre (Routledge).

STEVEN HOGGETT for Frantic Assembly
Recent credits include Rocky The Musical (Broadway & Hamburg. Tony Nomination); The Glass Menagerie (Broadway, A.R.T.); The Light Princess (National Theatre); Rigoletto (Met Opera); The Full Monty (West End/UK Tour); Once (Broadway, West End. Obie, Lortel & Calloway awards. Olivier Nomination); The Curious Incident of the Dog in the Night Time (West End, National Theatre); American Idiot (Broadway); Peter and The Starcatcher (NYTW). As Director, recent credits include What's It All About (NYTW). Steven was co-founder and co-artistic director of Frantic Assembly, work for the company includes Little Dogs (with National Theatre Wales), Lovesong, Beautiful Burnout (with National Theatre of Scotland), Othello and Stockholm. With Scott Graham, Steven co-wrote "The Frantic Assembly Book of Devising Theatre" (Routledge). Other credits include The Bacchae (Associate Director), Black Watch (Associate Director, Olivier Award) and The Wolves in the Walls (National Theatre of Scotland). Film includes How To Train Your Dragon 2 (Dreamworks Animation).

IAN DICKINSON for Autograph (Sound Designer)

CAST

ADAM LANGDON (Christopher)

Adam is a 2015 graduate of The Juilliard Drama Division. Regional: Kimberly Akimbo (Barrington), I Saw My Neighbor on the Train and I Didn't Even Smile (BTG), Hapgood (Williamstown), Robin Hood (WTF), Dreamtime (Waterfront). Select Juilliard credits: The Goat, or Who is Sylvia?; Rabbit Hole; As You Like It; Dancing at Lughnasa. TV/Film: "Red Oaks," "The Good Wife," "Great News," "The Path," "Difficult People," Three Dates, 18 Actors Acting. Adam is the co-star, co-creator and co-writer of the web series "Moe and Jerryweather." Love to Mom, Dad and G44!

BENJAMIN WHEELWRIGHT (Christopher at certain performances)

Benjamin is a graduate of The National Theatre School of Canada. He began performing at an early age at Edmonton's regional Citadel Theatre. In 2014, Benjamin moved to Toronto to perform at SummerWorks, an international curated festival, where he was awarded the Emerging Artist Award. After spending a year working on independent short films, Benjamin moved to London, England where he briefly worked with Complicite, in collaboration with Why Not Theatre. Benjamin is currently living in New York where he played Christopher Boone in The Curious Incident of the Dog in the Night-Time onBroadway.

MARIA ELENA RAMIREZ (Siobhan)

Broadway: Larry David's Fish in the Dark, Rachel Jackson in Bloody Bloody Andrew Jackson. National Tour: Rose Narracott in The National Theatre's War Horse (USA, Canada, Japan). Off-Broadway: Manhattan Theatre Club, The Public, NY Shakespeare Festival, Second Stage, Vineyard Theatre, Soho Rep. Regional: A.R.T., Guthrie Theater, Berkeley Rep, Seattle Rep, Westport Country Playhouse, among others. Film: Wonderstruck, St. Vincent, Happythankyoumoreplease, The Women, Assassination of a High School President, Personal Velocity. Television: "Limitless," "Odd Mom Out," "Person of Interest," "Unforgettable," "Army Wives," "Damages," "Law & Order," "The Sopranos," "Jezebel James," "Third Watch." Fox Foundation Fellow. MFA: NYU Graduate Acting Program.

War Horse National Tour (National Theatre of Great Britain); Macbeth (with Frances McDormand, Berkeley Rep); Two Gentlemen of Verona (Shakespeare Theatre Company); Streetcar Named Desire (Theatreworks); The Lieutenant of Inishmore, Coyote on a Fence (Curious Theatre); Burn This (Shakespeare Santa Cruz); Columbinus (Round House/Perseverance), Hamlet (Denver Civic), Romeo & Juliet, As You Like It (Folger). TV: "The Good Wife," "Person of Interest," "Elementary," "Law & Order: SVU." MFA from STC's Academy for Classical Acting.

FELICITY JONES LATTA (Judy)

Broadway: Metamorphoses (Circle in the Square). Off-Broadway: The Captain's Tiger (Manhattan Theatre Club), Measure for Measure (NYSF), As You Like It (The Acting Company). Regional: Arcadia, The Fairytale Lives of Russian Girls, Hamlet, American Night: The Ballad of Juan Jose, A Winter's Tale, The Master Builder, A Woman of No Importance, Lulu, The Ladies of the Camellias (Yale Repertory Theatre); The Homecoming, ' Tis Pity She's a Whore, Lady Windemere's Fan (CENTERSTAGE); Broken Glass, The Diary of Anne Frank (Westport Country Playhouse); Enrico IV (American Conservatory Theatre); The Odyssey (Goodman Theatre); Cymbeline (Hartford Stage, McCarter Theatre). She is Associate Director of Lattawork Productions, performing her one-woman school show ME PLURIBUS UNUM. She was Artistic Associate for ten years at Theatre de la Jeune Lune where she co-wrote and performed in such works as Crusoe, Friday and the Island of Hope, The Green Bird and Children of Paradise: Shooting a Dream. Film and Television: Signs, Julie & Julia, "The Carrie Diaries," "Wonderland," "Deadline," "Ed" and "Law & Order." Felicity is a 2014 Lunt-Fontanne Fellow.

AMELIA WHITE (Mrs. Alexander)

Broadway credits include Crazy for You and The Heiress. Off-Broadway at the Atlantic Theater Company, receiving a Theatre World Award for her work in The Accrington Pals at the Hudson Guild. Proud member of AEA, she continues to work in Regional Theatre all over the USA, resides in Los Angeles, born in Nottingham, GB.

KATHY McCAFFERTY (Ensemble)

Off-Broadway: Dada Woof Papa Hot (Lincoln Center). Regional favorites include: Outside Mullingar (Rosemary); Falling (Tami); Clybourne Park (Bev/Kathy); Boeing, Boeing (Berthe); The 39 Steps, The Vertical Hour (Nadia); Dancing at Lughnas (Rose); originating the role of Lurene in Last Gas and premiere of Fata Morgana. Huntington Theatre, Portland Stage, Cincinnati Playhouse in the Park, Arkansas Rep, Boise Contemporary Theatre, Rep. Theatre of St. Louis, Williamstown (six seasons), Shadowland Theatre (four seasons), Human Race Theatre, New Century (two seasons), Hudson Stage, Bay Street Theatre, among others. TV and Film: "House of Cards," "30 Rock," "Law & Order: SVU," "Dates Like This," "Law & Order: CI," "The Onion News."

JOHN HEMPHILL (Ensemble)

Some recent credits: Broadway: School of Rock, Mamma Mia!. National Tour: Mamma Mia!. Regional: A Raisin in The Sun (Director Phylicia Rashad). Film: David Fincher's Zodiac. TV: "Billions," "Show Me A Hero" (Director Paul Haggis), "Mr. Robot," "The Blacklist," "Boardwalk Empire," "Castle," "Criminal Minds," "Grey's Anatomy," "Big Love," "Monk," "Weeds," "Las Vegas," "The West Wing." National Commercials: Honda, Saturn, Target, Liberty Mutual, Propane, among others. Also John loves to golf.

BRIAN ROBERT BURNS (Ensemble)

First National Tour: War Horse. Regional: Romeo & Juliet and Richard II (Yale Rep); Becky Shaw (San Francisco Playhouse); Cider House Rules I/II (Cal Rep). New York: Abingdon Theatre Company, HERE Arts Center, ARS Nova, Richmond Shepard Theatre. TV/Film: Daredevil, "Bear Trap."Tiger Schulmann's MMA: Kickboxing Champion (2015, 2016), Grappling Champion (2015). MFA Yale School of Drama. brianrobertburns.com . #teamparkerjoe

FRANCESCA CHOY-KEE (Ensemble)

Broadway: Disgraced. Off-Broadway: Israel Horovitz's Out of the Mouths of Babes (World Premiere, The Cherry Lane). Regional: Agnes Under the Big Top (Long Wharf, CCC Award); Good People (Arena Stage); Winter's Tale, Arabian Nights (Hudson Valley Shakespeare Festival); As You Like It (Cincinnati Playhouse); Luck of the Irish (The Huntington); Bossa Nova (Yale Rep); She Stoops to Conquer (The McCarter); Young Jean Lee's The Shipment (The Thalia, Germany); Williamstown Theater Festival. TV: "Elementary" (CBS). NYU Graduate Acting Program (MFA), Royal Academy of Dramatic Arts (London). Gratitude to Phoenix Artists, and love to my husband and dearest family.

GEOFFREY WADE (Ensemble)

Geoffrey has appeared on Broadway and off-, toured nationally and works extensively in regional theater: The Old Globe, La Jolla, South Coast Rep, Center Stage, GeVa, Guthrie, Denver Center, Cincinnati Playhouse, Rep of St. Louis and most recently Man of La Mancha at the Weston Playhouse. TV: "NCIS," "Mad Men," "Mentalist," "Numb3rs," "ER,"four "Law & Orders." Film: City Hall, The Divide and Steven Spielberg's The BFG. He directed acclaimed productions of A Walk in the Woods and The Crucible. Teaches at the Antaeus Academy. Trained at Central in London where he met his wife, Amelia White. He is an avid photographer.

JOSEPHINE HALL (Ensemble, Understudy)

Regional Theatre: Les Liaisons Dangereuses (American Shakespeare Center); Richard III, Midsummer Night's Dream (Illinois Shakespeare Festival); Vanya & Sonia & Masha & Spike, Other Desert Cities (Actors Theatre of Charlotte); Doubt (New Stage Theatre); Beauty Queen of Leenane (Barter Theatre); Twelfth Night, Othello (Shakespeare in the Park, TX); Macbeth (Kentucky Shakespeare Festival); Arcadia (Cincinnati Shakespeare Festival); King Lear, The Royal Family, Love's Labor's Lost (Swine Palace); The Little Foxes (Seaside Music Theatre); Fuddy Meers (B Street Theatre); Blithe Spirit (Centenary Stage); Intimate Apparel (Arvada Center). Proud member of British and American Equity. Head of Acting and Voice, Greensboro College, NC.

ROBYN KERR (Ensemble, Understudy)

Robyn is a Jamaican Scottish actress now living and working in the US. Theater: Dark Vanilla Jungle (The Shop, HERE Arts), Love's Labour's Lost (Great Lakes Theater), Uncle Vanya (The Pearl Theatre Company), Spine (Clurman Theatre), As You Like It (Sprite Productions, UK), Round 2 (The Factory, UK). Television: "Murphy's Law" (ITV), "Casualty" (BBC), MI5 (BBC). Film: Stud Life, Scoop, Hank and Asha. Training: Royal Scottish Academy of Music and Drama.

TIM McKIERNAN (Ensemble, u/s Christopher, u/s Mr. Thompson)

is thrilled to join this production. He was last seen in the First National Tour of War Horse. He would like to dedicate his performance to his mother, Maria McKiernan, who taught special education for 33 years and helped hundreds of children to believe they could do anything.

J. PAUL NICHOLAS (Ensemble, Understudy)

Off-Broadway: Blood & Gifts (LCT), Rosmersholm (59E59). Regional: Othello, Oedipus, Hamlet, Romeo & Juliet, The Duchess of Malfi, Two Gentlemen of Verona, The Little Foxes (Shakespeare Theater); The Invisible Hand, Winter's Tale, Ciphers, The English Bride, Lidless, Scorched, Language Rooms (Various Philadelphia Theaters); Cymbeline, Romeo & Juliet, The Count of Monte Cristo (Alabama Shakespeare); The Butcher (Gulfshore Playhouse); Yellowman (Everyman); Starving (Woolly Mammoth); Stuff Happens (Olney); The Underpants (Geva Theater); Flyin' West (True Colors Theater); Beauty of the Father (Seattle Rep). TV: "Law & Order: SVU" (Reoccurring), "The Leftovers," "Law & Order," "Law & Order: Criminal Intent." Please visit www.JPaulNicholas.com

TIM WRIGHT (Ensemble, Understudy)

Tim was part of the Tony Award-winning, original Broadway Company of The Curious Incident of the Dog in the Night-Time and is thrilled to be bringing this stunning play to the rest of the country. In Australia, he has performed with Melbourne Theatre Company, Sydney Theatre Company, Bell Shakespeare Company, Ensemble Theatre and in Film and TV. His US credits include Broadway: The Curious Incident of the Dog in the Night-Time, The Bridges of Madison County. Off-Broadway: 3 Kinds of Exile (Atlantic Theater Co.). Regional: Williamstown, Pioneer. TV: "SMASH," "Do No Harm," "Blue Bloods," "A Gifted Man." Film: My Man Is a Loser, Ned Kelly, Two Hands.

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The Curious Incident of the Dog in the Night-Time | The Smith Center for the Performing Arts in Las Vegas

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Hailed as "One of the most fully immersive works ever to wallop Broadway" by The New York Times, this "dazzling" (Associated Press) adaptation is the Tony Award®-winning new play by Simon Stephens, adapted from Mark Haddon's best-selling novel and directed by Tony® winner for Curious Incident and War Horse Marianne Elliott.

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What creative skills might be required to create this type of work?

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What creative skills might be required to create this type of work?

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What is the role of a Physical theatre choreographer?

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What is the role of a Physical theatre choreographer?

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There role are to bring life to the play while showing the emotional and physical struggle of the  performance. This draws an emotional connection with the audience while making them see the message that the preformace is trying to portray

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What physical skills might be required to create this style of work?

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What physical skills might be required to create this style of work?

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The physical skills needed by this is round by through and there use of high and low tone to outline a specific movement of the actor which makes the audience aware of what they are doing exactly.

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What vocal skills might this actor need to create this style of work?

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What vocal skills might this actor need to create this style of work?

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The vocals skills of an actor is to use the use of there high and low vocals by hyperbolizing emotions and the moral of the physical thearte the vocal elements should contain pace,pitch,pause,tone,
volume, accent, emphasis inter nation.

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This is one of the phyisical exercise that we have done for frantic assembly. This helped us connect with each other before we started the drama lesson.

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Masterclass: Building Blocks for Devising by Frantic Assembly | National Theatre

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This is one of my favourite quotes this has a lot of meaning to it which indicates different things.

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konstantin stanislavski:

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It can be difficult to work out the difference between naturalism and realism.

Naturalism is the attempt to create an illusion of reality through a range of dramatic and strategies. On the other hand realism is about making things look palpable so the audience doesn't have a real connection and leave with the audience getting something from the theartre or movie or show. For example when watching the 'Seagull' by Anton Checkov i witnessed a naturalistic scene where a couple where having an on going argument about finance and how they are going to support themselves and a young child. The ad

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Drama is important to me because its a subject that i feel i can be myself without getting judge or looked down at. Drama is one of my favorite subjects because everyday you learn something new not just learn like work you learn thing you can use outside of education thing for your everyday life that is why drama is one of my favorite subjects it also allows me to deluge my thought and feeling through a different character and helps me feel better within myself instead of keeping it in.

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epic theatre, as opposed to what Brecht referred to as dramatic theatre. Brecht made epic theatre to tell his audience what was going on in society. Unlike Stanislavski’s his work was contrast with naturalism. Brecht was really hesitant to put naturalistic sense in his performances. He didn't want his audience to be connected with his performances he wanted them to leave learning and having a different perspective of a situation of life Brect got in serious trouble for his plays. His plays wanted to inform the audience about politics.The biggest thing his plays would be about is social class. (rich people vs poor people)Brecht was working class. And was very irritated by the privileges middle class & upper class people have.

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He made and shaped theatre in a way that had a huge impact upon its development. Many of his ideas were so revolutionary that they changed the theatrical landscape forever. Modern theatre owes a lot to his methods.

When naturalistic theatre was at its height and acted as a mirror to what was happening in society, he decided to use it as a force for change. He wanted to make his audience think and famously said that theatre audiences at that time “hang up their brains with their hats in the cloakroom”.

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Stanislavski’s real name was Konstantin Sergeyevich Alexeyev but he adopted the stage name of Stanislavski in 1884.He was born in 1863 His family loved the theatre and he was able to indulge in amateur theatricals as a boy. But when he took a stage name it was to conceal his theatrical work from his family. However, in 1887 he had his father’s approval and eventually became an established figure.

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The playwright Bertolt Brecht was born in 1898 in the German town of Augsburg and dies on 1956. As a young boy he studied medicine and served in an army hospital in WW1. This lead to Brecht questioning society and politics.Brecht was looked upon by Germany so he moved to the USA and worked there for awhile. Brecht eventually moved back to Germany when the war had settled down and founded the 'Berlin Ensemble' in 1949 which gave him credibility.People began to appreciate his work and became a famous practitioner

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I haven't really had experience its more so in school that I do drama.
Drama means I can express how I feel but not as myself as a different character.

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Today’s lesson we preformed our Goodnight Mr Tom performance. I believe that my group did very well our body language and vocal gestures we very naturalist and easy to believe One thing that I did really well was that I projected my voice to show my feelings

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Character objectives and Super objectives within a scene.

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Character objectives and Super objectives within a scene.

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In my dram lesson we learned about objectives and super objectives an objective is the reason for our actions. What are we trying to achieve? Life, people and circumstances constantly put up barriers in our way. Each of these barriers presents us with the objective of getting through them. You shouldn't try to express the meaning of your objective in terms of , 'I wish to...'

The super-objective is an over-reaching objective, probably linked to the overall outcome in the play. We use the word super-objective to characterize the core, which provided the impetus for the writing of the play for example in my lesson in portended to be air

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How to Direct Actors in Scene Objectives : Drama & Acting

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Subscribe Now: http://www.youtube.com/subscription_center?add_user=Expertvillage Watch More: http://www.youtube.com/Expertvillage Every scene in a script needs to have what is referred to as an objective. Find out how to direct actors in scene objectives with help from a professional actress and singer in this free video clip.

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This lesson we learned how to cry real tears it comes through you and your past memories.

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Crying Real Tears - Acting Tips By Audition Portal

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This is the table that shows my partners contribution to the workshop

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My personal intrest are Rugby which i play countyI play rugby  because it not one of the sports you see girls play its said it more of a "man sport" I am also co-captain of the Haringey hinos U15 team. Netball which im on the way to get my leavel 1 ompiring degree

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I have done drama before in year 7, 8 ,9 ive done preformaces in front of other year groups. This has built up my self esteem which has made my confidence outstanding which was one of the main reasons i picked drama.

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Anton Chekhov's play "The Seagull" is brought to life by its unique content and it outstanding roles played it this preformance. it superior reputatuion is overuled by the preformace that we watched at the lyric thearte

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What was their contribution to the quality of work and how?

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What was their contribution to the quality of work and how?

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My group really took our performance serious. They came in early to set up and get props they were reciting there lines every minute they could they added extra just so our performance could be better.

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The other roles were the main characters so they played a big role in performances. Amaras purpose was to act like a grumpy old widowed man that  isn't used to having anyone around or people to look after. Ricardo's role was to play terrified little boy that has suffer with domestic abuse so he's really jumpy and doesn't really interact with anyone.

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How did you demonstrate ‘best practice’ of your role in your rehearsal?

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How did you demonstrate ‘best practice’ of your role in your rehearsal?

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Anytime I got a word wrong I went back and did the scene again just to get it right and when I got it right I would do it again to see if I was good or it was just luck.

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How effective was your personal contribution o the quality of work?

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How effective was your personal contribution o the quality of work?

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I believe that my contribution to my performance was a major key and it helped us massively down to our set and performance it was a big deal.

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Did you stay true to the acting style process? If so, give detailed examples…

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Did you stay true to the acting style process? If so, give detailed examples…

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I did stay true to the natural syllabus I kept my character as natural as I could I project my voice when he was angry and lowed it when he was sad.

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What was your creative intention? How did you develop this?

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What was your creative intention? How did you develop this?

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My intentions where for my group  to be the best performance and for all the actors to act to their best ability. I developed this by when Amara or Ricardo made a mistake I always pulled them up for it and when I know the performance could be better I always told them.

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The Seagull is a play by Russian dramatist Anton Chekhov, written in 1895 and first produced in 1896. The Seagull is generally considered to be the first of his four major plays. It dramatises the romantic and artistic conflicts between four characters.

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What is the role of a ‘Physical Theatre’ actor?

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What is the role of a ‘Physical Theatre’ actor?

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Physical theatre is a well-known genre of theatrical performance that encompasses storytelling primarily through physical movement. Although several performance theatre disciplines are often described as "physical theatre", the genre's characteristic aspect is a reliance on physical motion of the performers rather than or combined with text to convey storytelling. Performers can communicate through various body gestures.

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What was your personal contribution in today’s workshop?

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What was your personal contribution in today’s workshop?

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I contributed to the workshop by coming in early to hep set up brining things from home so it could feel more comfortable and fell more like a home look more natural.

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The purpose of my role was to directs and pin point the pros and cons of my performance and help Amara & Ricardo develop there character to the best they can .I was introduced to the play as Charlie I was one of the only friends of Tom.

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Positives:
- All of the seats are facing forwards towards the front of the function room.
- Maximum seated capacity is achieved for the function room.

Negatives:
- The audience is closed in, needing to push past other audience members to enter/exit the seating area.
- Aisles are required to ensure sufficient access to seating area.
- There is no provision for note taking or consumption of plated food and beverage.
- Audience interaction is hindered as audience members don't face each other.

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This is the performance I preformed and this was about World War II drama in which a downcast widower living in a small village takes in a young evacuee from London. The widower soon realises that the boy was suffering with mental and physical abuse by his strict mother. He sets out to try and render the situation growing a mental connection with the boy. . But as soon as the war ended he is accumulate back to the city and in desperate search to get him back he travels to London.

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Adapting Splat. We played the game but changed the words it helped us without lines and to understand the contexts of the play.

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Naturalism is a movement in drama and theatre that matured the 19th and early 20th centuries. It attempts to create an illusion of reality through a range of dramatic and theatrical strategies. In philosophy, naturalism is the "idea or belief that only natural laws and forces operate in the world".I believe that naturalism for me is being myself and being comfortable in my environment.

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Baseline skills audit

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I played the role of Charlie and the role of the director. This helped me to develop my acting skills and also develop my understanding to lead a performance .Also as for this performance I exaggerated and used the space well I moved up and down partially because that's what was needed to be the best version of my character .My facial expression and my body language was much more to a good standard than my last performance which was the naturalistic one.