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Dear self,

Walking up to darkfield knowing the idea of sitting in a crate is upcoming makes me uneasy; further emphasised with a walk in the dark in a park with feelings of slight hunger. However, there continues to be a sense of excitement within the anticipation of the unknown. The lively ambience of the waiting and bar area of darkfield adds to this excitement with people exchanging talks of their fears. I feel as if my emotions of excitement and fear heighten whilst waiting for the performance and hearing the crates shake for the earlier performance. After the performance, I feel at ease with a slight feeling of disappointment lingering - a stark difference twenty minutes beforehand. Perhaps it was the settling of the anticipation and fear mixed with the overall short performance that makes me feel anti-climatic. I swiftly left the area shortly after, in hopes of catching a train home. On the walk back to Stratford Station, following the park and eventually Westfield, I felt as if the walk from a dark empty park to a bustling shopping centre gave time to reflect the philosophical messages throughout the performance as well as the technical side of the performance. I feel that being given time for reflection, due to the location of Darkfield, made the post performance feelings turn into a philosophical notion that could be thought about for longer. Therefore, despite the increasing anticipation of fear and excitement potentially skewing the aim of the performance leaving a feeling of being underwhelming, it allowed me to take away key philosophical ideas and the key stages of creating fear in performance, even if it was not their intentions.

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Formative Submission - 1st December 2025 must include: 4 X Reviews

4 x Critical Lens Factsheets 1 x Historical Timeline research idea title.

Ideally by 1st March and no later than 19th March 2026 you must confirm vour:

How to apply...title for your recorded Powerpoint presentation Summative Submission - 30th March must include: 8 x Reviews

6 x Critical Lens Factsheets 1 x Historical Timeline

1 x How to apply... recorded Powerpoint (consisting of 2 files - the video and powerpoint)

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What makes a performance?

- Some suggest to be a performance is to be perceived by others whilst some suggest the a performance can still be observed through one's self

- A performance can be a reflection of creativity, story-telling, art, a commentary

- Some link performance with societal commentary through the act of story telling and art

- The concept of restored behaviours by Schechner brings into notion that a performance is a set of rehearsed behaviours that deeply engrained into society and the idea that any aspect of society can be considered a performance

The fundamentals of performance

- Schechner argues that to complete an cation, show the action, explain the action is the basis to a performance

- With this concept in mind as well as rehearsed behaviours, the everyday rituals like brushing teeth, making the bed, auto-pilot activities are in fact a performance in one's self, based on the behaviours taught in society

Origins

Pre 1940s: Drama studied as Englísh Literature, practical skills developed on the job.

1940s onwards: Move to theatre studies, drama courses and in the 1980s, performance studies.

Performance studies considers the relationship between things

What makes a good review?

- Considering all aspects of performance and evaluating how successful

- Backing up opinions using examples and details to sound credible

- Have a balanced review of successes and failures

- Understand the production, historic, social context of the production thoroughly

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At the Pleasance Theatre, the act, Betty (by Tiggy Bayley) focused on the idea of a prisoner talking to the audience as if the audience was an interviewer. The stage is minimal with just a table and a seat for herself, the lighting was spotlighted onto Betty and the sound was to a minimal with just Betty's voice as the key focus. This created an immersive atmosphere that made it feel as if you were the interviewer, judging her words, performance and clothing. With little context given, the prisoner-inspired costume became an important hint to her setting and understanding in the narrative. The narrative also helped with creating an immersive performance whilst providing a full story in little time by explaining the story of her crime to an interviewer allowed moments of pause into the actual story of the crime to help extend her character. Her character was easy to listen to with clear speech, a flowing rhythm and slight underlying comedy. As an audience member you felt inclined to listen and almost understand her reasonings for the crime of murder but it was skillfully interjected through intense aggressive outburst; this truly captured the overall character of Betty and her twisted mind. The direct eye contact of her performance was continuous and intense making the audience fall deeper into the immersion. The comedic timing was also reflected into the sound, with using Sabrina Carpenter's music to not only connect to the audience as it is a popular song choice but in reflecting Betty's mind and lack of sympathy towards her victim.

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Exploring the history and evolution of ballet costumes

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The opera takes a spin on a traditional well-known story that many of us have grown up with in the Western world and places the Noah's Ark story into Africa whilst changing Noah into a female character. This immediately makes the story a contemporary piece with the narrative focusing on a family having to uproot due to climate change flooding their home. With the opera being sung with a mix of English and Xhosa (as well as African instruments) and the narrative, both elements create a social comment on the effect of climate change in Africa and potentially focusing its spectatorship to a western audience as the use of English in narrative key points, in an otherwise disorientating narrative to follow with quick cuts and experimentation of editing, allows us to understand the impact of climate change on a part of the world with less media coverage. The contemporary ordinary costume and the set (with the metal ark) elements further emphasises the contemporary aspect, making it easier to comprehend the message that climate change is an issue that affects modern day. Moreover the frequent use of two shots and long shots to show community alongside shot reverse shots of children, and cuts between the rehearsal room to the opera setting paints the key concept that as a community it is our responsibility to solve climate change. The overall film is short but effective in its direct messaging about climate change in Africa.

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The Lift Review, with Xuxu and Emily.  I found personally the music to be very similar and very repetitive. And it made the whole narrative become a bit clumpy and a bit boring, in a sense. You couldn't understand the plot of the storyline because the songs kept going and then you couldn't understand what they were saying in the songs. Yeah, I thought the music was very repetitive, and you couldn't understand what they were saying. And the costumes are very of their time. It was a contemporary piece that didn't really stay contemporary. So as a modern day audience, it was quite disconnected from our lives through their costumes. Yeah, it was very trendy at the time, which was 2012. Let's say that. It's not a timeless piece. I also found that they named everyone the same name to make them like strangers connecting and we all go through similar things in life. But overall it just was a bit confusing, unnecessary and didn't really add to the plot, calling everyone the same names. The set was dynamic, and they used the set quite well, given it was just a lift, and they had four metal arches, they moved to create different scenes. They used what they had and it was, you could tell that it was like a lift, even though it wasn't. And you could tell it was like a tube, even though they were just holding the air. So I think that was good in a sense. Yeah, the characters were a bit cliche. Very much stereotypes.

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City of London? More like the city of light!

From Guildhall Gate to Milton Court, a path will be lit up for you, taking you through the lesser known areas of Moorgate and London Wall.

The tour begins with an opera singer serenading the guildhall yard in a dramatic sensational performance. But the light up dress is where the party really starts alongside the lighting display. It really attracts the eyes! And is a bargain with a free viewing of a talented opera singer!

Taking a cold peaceful walk further up the road using the map, you can see London's wall dazzled in a thought - provoking lighting display. Alongside a peaceful walk through the park with ambient music, most likely the only time you can walk in a park in the dark and feel peaceful.

The display leads up to Milton Court with a large-scale lighting display of the school, GSMD. Don't threat! You will not get lost in this adventure despite London's winding streets as there's lovely volunteers providing comfort and leaflets with a map. As well as this, the guildhall's own website also provides maps!

Overall the event brings light in an area of grey skies and suits and provides a peace from the hustle and bustle. It's also run by students and builds community in the heart of London.

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The exhibition at the Tate is deeply steeped with history and meaning. From the power cables to the layout of the exhibition, the exhibition is extremely well thought out and purposeful. The personal response is a reflection of Máret Ánne Sara who grew up in a Sápmi community. She shows the spectators the elements of her culture through the imprints of the deer's ears and the effective use of hide, with sustainability in mind. The music is ambient and allows spectators to take in the environment whilst perhaps giving a sense of spirituality. While presenting the skill set and traditions of the Sápmi people, there is an underlying message throughout the exhibition. The electric power cables wrap the bones and hide, insinuating the effect of global warming on the community. These effective small details give the exhibition all the meaning it desires. Sara talks about the effect of global warming which leads to the animal being unable to obtain food, leading to devastation and an upset food change. This then places indigenous people at risk of losing their history and land. The exhibition opens up to the spectators about their unique culture whilst simultaneously showing the potential cause of their fatal downfall. This creates a heartaching and emotional exhibition that goes beyond the exhibition, in thinking and considering our use of technology with the rise of AI and its effect on our environment and our communities.

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In a time of need and poverty due to the cost of living crisis, theatre must change in support of the audience. There should be an increase in performances about modern day challenges to gain representation for those in need such as single parents, people with disabilities and those under the benefit scheme. This means theatre must make productions accessible to all people despite circumstances in aim to create a community, needed in such times.

They should challenge stereotypes and decrease classism and ableism through the character design and narratives. For example, traditional plays/operas should be modernised to reflect modern day ideas rejecting traditional stereotypes in line with the UK equality act.

Theatre should have more financial support by the councils in order to create new productions that represent their multi-cultural society. In doing so, theatre should create a community and bridge the class gap in society.

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Wisung, Elina. 2024. “Dress to Include - the Lewis Foundation of Classical Ballet (TLFCB).” The Lewis Foundation of Classical Ballet (TLFCB). November 28, 2024. https://thelewisfoundation.org/2024/11/dress-to-include/.

Buttons, Empress of. 2019. “The Mystery of the Pancake Tutu Explained.” Empress of Buttons. June 13, 2019. https://empressofbuttons.wordpress.com/2019/06/13/the-mystery-of-the-pancake-tutu-explained/.

Angélica, María, Rodríguez Supervisor, and Stefan Jonsson. 2021. “Master´S Thesis, 30 Credits -MA in Ethnic and Migration Studies (EMS) Performing Whiteness: An Interdisciplinary Analysis of Racism in Ballet.” https://liu.diva-portal.org/smash/get/diva2:1579823/FULLTEXT01.pdf.

Pittsburgh Ballet Theatre. 2024. “A Brief History of Ballet - Illustrated by Pittsburgh Ballet Theatre.” Pittsburgh Ballet Theatre. Pittsburgh Ballet Theatre. September 13, 2024. https://pbt.org/community/resources-audience-members/ballet-101/brief-history-ballet/.

Wisung, Elina. 2022. “Costumes through the Ages - the Lewis Foundation of Classical Ballet (TLFCB).” The Lewis Foundation of Classical Ballet (TLFCB). August 16, 2022. https://thelewisfoundation.org/2022/08/costumes-through-the-ages/.

“Anna Pavlova’s Swan Costume & the Evolution of Tutus.” 2025. London Museum. 2025. https://www.londonmuseum.org.uk/blog/anna-pavlova-ballet-swan-costume-evolution-tutu/.

Wikipedia Contributors. 2019. “Critical Race Theory.” Wikipedia. Wikimedia Foundation. March 14, 2019. https://en.wikipedia.org/wiki/Critical_race_theory