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Moth is a youthful and charming character in Love’s Labour’s Lost, serving as the pageboy to the boastful Don Armado. Though small in stature and young in age, Moth is quick witted and full of playful humour, often making clever remarks that gently mock his master’s speech and behaviour. His role is to entertain and serve Don Armado, and he does so with loyalty, but also with a light teasing spirit that brings warmth and comedy to their interactions.

In my adaptation of this character, I want to bring the same light hearted, cheeky humour and embody the playfulness of a child- something I practiced a lot in first year. Moth is often genderless and can be played in many different ways- my main goal is to create a connection with the audience.

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I chose a fox cub for our animal work sessions with Phoebe because I believe the animal perfectly captures Moth’s playful and clever spirit. Like a young fox, he is energetic, mischievous, and full of life, always darting in with a witty remark or a knowing smile. While he serves his master, Don Armado, he does so with a cheeky affection. The image of a fox cub adds a layer of youthful intelligence and charm to Moth’s character, embodying both his loyalty and his light hearted mischief.

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BACKBONE.

The fox has a long, flexible backbone that allows for agile and fluid movement. Its spine includes a supple neck and a long, bushy tail that helps with balance. The limbs extend directly down from the spine, allowing for a springy, light-footed motion. Movement begins from the core, especially the hind legs and lower spine, powering quick jumps or sudden runs. When sitting or lying down, the fox’s spine curves smoothly, and when it stands or runs, the spine stretches and flexes rhythmically, like a wave through its body.

BREATH.

The fox has a light, alert breath, quick but controlled, like it’s always ready to move. Its heartbeat matches this: fast and responsive, reflecting a watchful, curious animal that’s always aware of its surroundings. The breath sits high in the chest when tense, but can slow and deepen when the fox is calm or resting. This internal rhythm feels sharp and agile, like a quiet readiness running beneath stillness.

WEIGHT/GRAVITY.

The fox’s weight is evenly distributed but held lightly, with a low centre of gravity that helps it move smoothly and quietly. It resists gravity when stalking or ready to pounce, staying poised and lifted. It gives into gravity when resting or slinking low to hide. The fox uses its weight in short, sudden bursts—like quick turns or jumps—shifting its centre smoothly to stay balanced

SPACE.

The fox lives in open fields, dense forests, and narrow burrows—its world shifts between wide, alert space and tight, hidden corners. It takes up very little space when still, curling up small, but can stretch and dart across wide areas quickly. The fox often stays low and near the edges, using cover and shadows.

POV OF A FOX.

A fox has forward-facing eyes, giving it sharp depth perception for hunting. Its eyes are attuned to movement and low light, making it excellent at spotting prey at dusk or night. The field of vision is narrower than prey animals, but highly focused. The eyes blink lightly and occasionally, staying still when watching. Foxes notice rustles, flickers of movement, or sudden changes in their environment.

RHYTHM.

A fox’s life flows in quiet bursts—stillness, followed by sudden speed. It hunts alone, often at night, eating small mammals, insects, or berries. It sleeps during the day, curled up in a den or shaded spot. It survives through stealth and agility—not strength

BALANCE IF SENCES.

The fox leads with its ears and nose—hearing and smell are its strongest senses. Its large, upright ears swivel to pick up even the faintest rustle, and its nose stays low to the ground when tracking. Sight supports these senses, especially for detecting motion. The fox reacts quickly to unfamiliar sounds or scents, often freezing before silently stalking or fleeing.

SOUNDS.

Foxes are not silent, they bark, scream, and yip to communicate. A sharp bark might warn off threats or call to a mate, while a high scream signals distress or territorial claims. These sounds are usually brief and spaced out.

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Gavin’s sessions were engaging and important in helping us visualise the world of the play more vividly. Throughout our rehearsals, we explored a range of physical techniques, including various styles of dance and mask work, to delve into clowning. This was especially helpful for me, as I initially found it challenging to fully embody Moth’s playful, mischievous nature whilst also learning my lines. One aspect I particularly enjoyed was devising movement as an ensemble. The "love letters" scene, in particular, brought an additional layer of creativity and cohesion to our performance. We also created a movement motif in small groups which, although it wasn’t used in the final production, was a valuable and enjoyable collaborative experience that contributed to our overall ensemble dynamic.

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Whilst the play was coming together, another student; Ryas and I decided to get the class together to create posters to promote it. I directed and edited the photos to give them a more “ rockstar band/festival” look