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SHAN (audition)

26/03/2025

Today we had our auditions, I started of by getting my scripts and finding a area in the dance studio to sit by myself. I began by reading through the play and deciding to audition for jess, I picked on reading lines from page 275-276. After spending an hour practicing lines I did my audition piece, I performed it with Shan and Leo . I feel as it was not my best performance as i didn't have as much of a understanding of the play and the character that I would like but overall it was decent.

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SHAN

Today we started of by doing a round of zip zap boing to get our brains moving and focus on the lesson. We then moved onto cast 1 of the play running through the first scene, they worked out the spacing of how the scene will start which is super important as it sets the tone for the whole play. I read through my lines as they did that in the background and began to get a deeper feel for my character. Once I felt satisfied with the amount of read throughs I did with my lines I watched how they had put the first scene together, which was going really well and passionate. Although some people were not satisfied with the roles they received they did not let that affect their performance in rehearsal.

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SHAN

7/05/2025

Today we didn't do a warm up we moved straight into rehearsing, I sat down with ester who is the person I interact with the most in my scene. Her character is called Alysha, she is my friend from secondary she speaks Portuguese and Italian and I tell these details to the group, which then leads into our story telling with them which is our scene. Me and ester ran through our lines together, which helped us see how we each viewed our character and how we presented them. Doing this allowed us to then adapt our characters to ourselves properly to help us really merge and create a on stage bond. By doing this with ester it helped me know how I could deliver certain lines to help boost mine and esters performance and really work well together.

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SHAN

8/05/2025

In this lesson we decide to work on how me and ester would enter the scene and where we would sit to make the scene look best. We decided it would be best if we entered from bottom stage right while the others sat in a semi circle with a gap in the middle. It began with me and ester entering bottom stage right and then exchanging a few words with the character in which we are prompted to sit in the gap in the semi circle before telling a story and then exiting.

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THE START OF "KISS MARY PUSH OF A CLIFF"

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THE START OF "KISS MARY PUSH OF A CLIFF"

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SHAN

2/04/2025

This was the first day of the start of our final major project which was exciting, but also bittersweet to know it was the last performance we were going to put on as this group. I learnt my role was a hiker named phoebe and was excited, as even though it was not a large role it had a bit of flexibility to it allowing me to mould the character to myself in some ways, and even write some of my own lines. My scene was mainly involved most of the cast, it was based of me and my friend Alysha seeing them while being on a hike. We then go on to having a small interaction with them, by telling a camping story.

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SHAN

during this lesson I was given a paragraph from my scene with ester and was instructed to shorten it but still keep it as exciting and interesting, but also keep it similar to the version that ester had translated in Portuguese. Part of the scene is ester telling a story in Portuguese and then me translating it into English, this is to kinda add a fun little section that you otherwise might not expect in a play like this.

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SHAN

This day was really fun as we spent it creating a kind 'party' scene were everyone was gathered around in a semi circle and we all debated on which song to use for the scene but landed on 'head, shoulders knees and toes'. After picking a song we then decided a good movement for this scene would be starting with a drink at each end of the semi circle being passed round and 'drunk' until it reached the other side and once it did everyone would get up and start their own little dance which would then break out into head shoulders knees and toes after doing that they would get into a conga line and the party would eventually die down.

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SHAN

In this lesson me and ester went over our lines together to make sure we really had that chemistry for our characters down. After that we worked out some of the movements we would do on stage together to really enforce our friendship so we walk in single file me first then I go into my dialogue during which I mention her being my friend so I put my arm around her shoulder to really amplify that to the audience we then move around and continue the scene sat in the semi circle then as we got up and tested some quick new dialogue in which the character carl offers us a mento and we take it. Him giving us a mento is a reference to a few minutes before in the play where the characters buy mentos thinking they're acid.

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DESPINA

In this lesson we started to a movement piece to go along with Marco and Nash dialogue. The movement started by two single file lines coming out parallel to each other but then stopping and outstretching the opposite arm before circling into on large line behind Nash and waving arms before then circling back of. this movement is meant to represent the calmness of Nash compared to the hecticness that Marco is facing in the background.

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1. Ricky being pushed of the cliff was not pre meditated

2. it is not known where Ricky got the padlock

3. yes Marco wants to get a little payback on Ricky by scaring him but he did not intend to kill him

4. yes I think that Marco wanted to say his peace but was antagonised by Ricky

5. yes Marco wants to be in the friend group again

6. no his main obstacle is the whole group

7. Marco is trying to shut up Ricky to say his peace

8. no I believe he isn't trying to see if the group would rescue Ricky he is more so letting his frustrations out

9. I think Marco is motivated by the humiliation of being shut out by all his friends

10. yes I believe it is a full circle movement from the start

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1. How did you manage your rehearsal time?

I managed my rehearsal time by using my time in class to practice with ester to really get my lines down with her. I also spent one hour three nights a week practising mannerisms and exploring my character more.

2. How well did the performance go? Did you execute your role?

I would say my personal performance went quite well as I remembered all my lines and movement. However as a whole I feel we could have all put more in to make the performance better but that part of the course learning where you can improve to help for the future.

3. Were there any noticeable mistakes in your performance?

No our performances didn't have any noticeable mistakes and any mistakes were easily covered with improvisation and people being professional enough to quickly move past it without creating a distraction.

4. Did the performance engage the audience and maintain their interest throughout?

Yes I would say the audience stayed engaged. I think because it was quite a fun adventures play people payed attention to keep up with the fast pace of the play and the new scenarios which kept being thrown in.

5. Did you effectively convey the emotions and intentions of your character?

Personally I think I conveyed my emotions well in my performance even though I'm in a short scene my dialogue involves story telling and in my story telling I needed to express a lot of different emotions.

6. Was there good chemistry and interaction between yourself and your partner?

Yes I think because of how much me and ester worked together to crack down on chemistry offstage it benefited us on stage.

7. Did you perform with confidence on stage?

I think that after being reminded to keep that positive energy in my character kept alive across my entire scene I really brought it to life in the actual performance and delivered my lines confidently.

8. How effectively did you engage with the audience?

I think by keeping my body language facing toward the audience as much as possible it helped the audience feel apart of the scene more and not closed off.

9. What were your strengths and areas for improvement?

My strength was being able to take on criticism and use it in my performance, however I think I need to work more on my posture and body language as sometimes it can come across as unintrested.

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Running through marco and nash scene.

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Running through scene 1 to 2.

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Our first tech run.

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Creating a character profile for a drama character can help you develop a deep and believable character for your play or story. Here's a template with questions to help you get started:

Basic Information:

Name: phoebe

Age: 18

Gender: girl

Date of Birth: 22/06/2006

Nationality or ethnicity: white

Physical Appearance:

Height: 5’4

Build (slender, athletic, etc.): skinny

Hair color and style: brunette with basic style

Eye color: green

Distinguishing physical features (tattoos, scars, etc.): braclets

Background:

Place of Birth: australia

Family background (parents, siblings, etc.): two parents

Education: a level

Early life experiences that have shaped the character: sailing

Personality Traits:

Describe the character's personality in a few words (e.g., introverted, passionate, stubborn, etc.): funny and kind

Strengths: energetic

Weaknesses: easily distracted

Quirks or habits: runner

Motivations and Goals:

What motivates this character within the context of the drama? hiking

Short-term and long-term goals: get fitter

Role in the Drama:

Protagonist, antagonist, supporting character, etc. Supporting character

How do they fit into the overall plot? Story telling

Relationships:

Describe their relationships with other characters in the drama. They are friends

Friends, family, romantic interests, mentors, or rivals. friends

Conflict and Drama-Specific Background:

What central conflicts or dilemmas do they face within the drama's storyline? A scary camping story

Past events or secrets that influence their actions and decisions in the drama. Finishing school

Dialogue and Speech Patterns:

Describe their way of speaking, tone, and vocabulary. bubbly

Do they have any unique speech patterns or catchphrases? no

Costumes and Appearance Changes:

Describe how the character's appearance changes, if at all, during the drama.it does not

Consider how this reflects their development. It doesnt

Backstory:

Any significant events from the character's past that are relevant to the drama's plot or their motivations. none

Emotional Journey:

Outline the character's emotional journey throughout the drama, from the beginning to the end. They come in happy tell a scary story and leave

Triggers and Vulnerabilities:

What events or situations trigger strong emotional responses in this character? none

What are their vulnerabilities or fears? none

Character's Fate:

Do they achieve their goals or experience a different resolution? Finish hiking

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importance of practical skills and presentation

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importance of practical skills and presentation

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Practical skills are a big part in theatre it has a lot to do with communication and teamwork and can really help amplify the performance. Practical skills are important in theatre as it has a big impact on individual and group performance

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I have research the Dyatlov Pass incident because is was referenced in the play. It was a tragic incident where a group goes camping in the mountain but in the morning their tents are slashed from the inside out and the campers are just in their underwear with their eyes and tongue cut out. It was a very traumatic event that shocked the nations and is still unexplained till this day but was put down as an avalanche on their death records. They mention this in the play as they themselves were camping.

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before the performance my character was working a job in urban outfitters to save money for uni which she is going to in Leeds and has planned to go on this camping trip as her last hurrah so she has told all her friends and family about it and saved for fresh hiking boots

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Hannah Hauer king was the lead director at the National Theatre for, Kiss, Marry, Push Off The Cliff. Hannah, is an award winning director a dramaturg. King has worked with the national theatre, kiln theatre and the globe theatre plus many more. King is best known for her work on the ministry of lesbians affairs. She has won the Oliver awards and been nominated several times.

Hannah's work focused on the female or LGBTQ+ experience. She started her career as Resident Assistant Director at Soho Theatre, and went on to form all women theatre company Damsel Productions, who recently produced sell-out show The Ministry Of Lesbian Affairs at Soho Theatre.  Alongside her work with Damsel, she also works as a freelance theatre director, and has worked at venues including the Kiln Theatre, Shakespeare's Globe, Soho Theatre, Southwark Playhouse, Traverse Theatre, Theatre 503 and Jermyn Street Theatre. As a dramaturg she has supported the Soho Young Writer's Lab, and as a reader she has read for the Verity Bargate Award, the National Theatre's script reading panel and the Women's Playwrighting Prize.

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Josh Azouz was born in 1985 and raised in london. He is most known for his play buggy baby in which he won the channel 4 playwright award. His work is mainly based of the jewish religion as that himself is his religion. Some of his other work includes Disappearance of slobbo, The get and Once upon a time in Nazi occupied Tunisia. I think his style is more contemporary and touches on several different subjects not only based on one topic. I think the most intriguing part of his plays it that even though they are all different they all have important messages in them.

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Enid Blyton was born in 1897 Dulwich England.

She is best known for being a child author and has sold more than 600 million copies of her books. She is most known for her books Noddy, Famous five and Secret seven and sevral more. Her books are the 4th most popular translated books in the world. I think that her work is inspiring and especially as a wonen in that time to do such anazing things is really great

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Dramatic theatre is a style of theatre where everything is intensified for cathartics. Using this method helps the audience connect with the characters on a deeper level as it uses nauturalism. The point of it is to keep the audience engaged with the play attention wise and emotionally

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The final performance.

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Scene 1:

They leave school and show up to the campsite

Scene 2

Ricky confesses his feelings for kiara and me and ester show up

Scene 3:

Tamer leaves to look for marco

Scene 4:

Marco finds noosh

Scene 5:

The other look for tamer

Scene 6:

Tamer comes back to the others

Scene 7:

They all talk about the future

Scene 8:

Marco comes back to the campsite

Scene 9:

Marco pushes ricky of the cliff

End

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A director is like the main person in charge of the production, making sure everyones doing what they should to tell the story right. They work with actors, camera people, and designers to make everything look and feel how its supposed to. To do the job, they gotta be good at talking to people, making quick desicions, and getting everyone on the same page. From the start to the end, the director is their making sure everything fits together. For example Steven Spielberg. Obviously a director is important for kiss marry kill because its who brings the idea to actors and helps bring it all together for example our director shan.

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Sanford Meisner was a pasionate actor and teacher who beleived that great acting comes from honest, real emoshun. He created the Meisner Technique to help actors react truthfully in the momment, not just saying lines. His aproach, centerd on real conection, has inspyred many performars.

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Bertolt Brecht were a bold and creative German playwright who want theatre to make people thinks, not just feel. He break away from traditional storytelling, often speak directly to the audience and reminding them they was watching a play. Through works like The Threepenny Opera, he use the stage to question society and inspires change

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Augusto Boal was a passionet Brazilian theater director who believe theater could do more than just entertane—it could change lifes. He create the Theater of the Oppresed to help peoples speak up, get involved, and challange unfairness in their comunities. Instead of just watching, audiences was become active participents, or “spect-actors,” making the experiance personal and powerful. His work have inspired people all over the world to use theater as a way to conect, express themselves, and make a diffrence