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After reading this article it helped me think about  how to breakdown each scene and think about my intentions towards the other characters and why im in the scene.

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Acting technique is paramount to anyone wanting to be a serious actor. It's quite easy to imitate a character or even an emotion, but where's the depth in that? How can you sustain or repeat again what you might have found intuitively? Do you even know what you did or how you did it?

The technique, however, will help you find a character, which in turn informs how you approach the text/script/written word. How do you bring the dialogue alive? How do you know what choices to make? The goal of a trained actor is to become a fully realised three-dimensional character, with a rich backstory. I must believe the character you play is truthful and not a cliche, a caricature, a thin external representation of someone who barely resembles a human being. I must believe what you say is real and that you're not reciting, spouting or commenting.

In order to help you understand, I will lay out the backbone of what I teach at RADA and around the world to professional and student actors alike. This is based around Stanislavski's acting technique and his seven questions which, over the years, I have adapted into 10 key acting questions every actor should answer in order to be a fully rounded and connected actor.

1. Who am I?

2. Where am I?

3. When is it?

4. Where have I just come from?

5. What do I want?

6. Why do I want it?

7. Why do I want it now?

8. What will happen if I don't get it now?

9. How will I get what I want by doing what?

10. What must I overcome?
1. Who am I?
The first question is dealing with the type of person you are. I'm sure if I asked you that question, you would be able to tell me about your family background, your parents, grandparents, siblings. You would be able to describe them in detail. Also the house you grew up in, what it looked like, inside and outside. Your favourite room, what you could see out of your bedroom window, the smells you remember. Your earliest childhood memories, the kind of games you played, family holidays. Your education, favourite teachers, best friends, times you got into trouble. Your first kiss, first job, your likes and dislikes, influences, attitudes, anecdotes. All these good, bad, funny, interesting experiences shape us into who we are today. Most people don't walk around with all these memories on their shoulders like baggage. They've seeped into our being, our muscles, our subconscious, allowing us just to be, to exist.

When you play a character in theatre, TV or film, you should know your character as well as you know yourself, so you can just exist and live. Of course that doesn't just magically happen, nor does it evolve just from rehearsals. As an actor you have to plant those memories, anecdotes and backstory.

So how do you build a character? Well, first a good script should give you some initial information about your character, and also what other characters say or think about your character can be very revealing. All this should be extracted and written down in a separate notebook. The next stage is research. You need to find out through detailed research what the history, economics, politics, music, art, literature, theatre, film, foods, fashion, religion might have been at the time the play was written, in order to know how you would have lived and what and who your influences were, just as you know these things in real life. Possible sources include the internet, films of the era and finding images of landscape, as well as going to museums, art and photographic galleries. Fill your mind with images - not facts and figures. The more visceral your understanding, the better.

The final stage in building a character, once you've filleted the script and completed your research, is to use your imagination to flesh out the details you've gathered and bring them alive. Don't underestimate the power and the necessity of your imagination in the acting process. You can't use your imagination without the backup of research and reading. Nor can you use your imagination alone.
2. Where am I?
You might find in the script a description of the room you're supposed to be in, including details such as the style and period of the furniture. What does it mean to you though? Is your character supposed to be familiar with the surroundings? Is it the first time you've entered this room? Is it a cosy cottage? A freezing barn? A familiar street? We usually behave differently depending on our surroundings. You need to establish your relationship with your environment because this affects the way you use yourself. For example, you wouldn't start walking around, touching ornaments and putting your feet up if it wasn't your home. The geography will have an impact too: playing someone from very cold northern climates such as Norway or Russia will be different to playing someone in a baking Mediterranean climate such as Italy or Spain.
3. When is it?
We need to know what season it is, what year, what time of day. We tend to carry ourselves differently in the colder months than we do on hot, muggy summer days. We would also hold ourselves differently if the piece was set at the turn of the century. We must be aware that we can't bring our modern physicality to a play that is of another period. People expressed themselves differently then and didn't slouch or use modern gestures.
4. Where have I just come from?
You need to work out what your character has been doing, where they've been. When you make an entrance on stage it shouldn't look as if you've just stepped on stage from behind the curtain. Even if that's true, you should have worked out during rehearsal where you would be coming from - the bathroom, having just brushed your teeth? The kitchen in the middle of baking an apple pie? The car after being stuck in traffic? Shopping? What is your state of being supposed to be on your entrance? Does it tell you in the text? Has your director informed you of what they would like it to be? Or do you have to invent it? What's just happened in the scene before? Have you just had an argument? Have you just been proposed to? Whatever the situation, you should always know your previous circumstances at all times. It can be good fun inventing it, and no entrance should ever be the same. Just think about real life: do you always enter your house in the same way every night? No. Where you come from will have conditioned your mood.
5. What do I want?
This is a key question. "Want" means what do you need, what is your intention, your motivation, your action? You should never walk on stage just to play a scene. You should always have an objective. Often in a good script, an objective is written into the scene: to end the affair, to propose, to move out. Your action can change from scene to scene but you should always work out what you are meant to be doing.

You may be in a scene, for example, where you have very little dialogue. Instead of sitting doing nothing, give yourself a physical action, which can be anything that fits your reason for being in that room, from making a salad to polishing your nails. Even if you are pulled away from what you're doing, so long as you're doing something, you've always got something to return to once you're no longer engaged in conversation. The importance of this is so that you don't look or feel silly on stage doing nothing. You must have a life on stage, you must have a purpose for walking and talking, otherwise you are in danger of "just acting", which is fake. Don't forget you're trying to be truthful and three-dimensional, and in real life, no one ever comes into a room and stands with their hands by their sides or sits with their hands in their lap and just talks.
6. Why do I want it?
You must always have a strong justification for your action. All right, perhaps in real life we don't always have a strong justification for everything we're doing but, particularly in the theatre, you always need one. Most plays present a heightened version of reality (this can be different for the naturalistic performances and stories we see on television, particularly in soap operas). Having a strong justification means you have a strong motivation.
7. Why do I want it now?
The "now" gives you an immediacy that is crucial in acting and in any drama. You must know why your motivation has to be right now, not before, not later but now. Why should we sit through two hours of this play if you're not that bothered about getting the money or the house or the power?
8. What will happen if I don't get it now?
The stakes should always be high. Otherwise so what? The consequences of not getting what you want should always be very important to you. If the high stakes are not clear to you in the play, you need to invent them, otherwise it will come across that you're not bothered at all about the outcome.
9. How will I get what I want by doing what?
This question brings us on to how you break down a script. How do you know how to play the line as opposed to how one should say the line? There's a big difference.

Once you've worked out what your action is (question 5) you then have to work out your smaller action, which is called an "activity". You need to work out how you are trying to affect the other person with what you are saying.

One way of doing this is called "actioning" your text. Break your script up into chunks: every time you have a new change of thought, you need to find a transitive verb, a verb that is active, such as to beg, to entice, to charm, to get sympathy (a good thesaurus is very handy here). Remember that this technique is not about the emotional content of what you are saying or feeling but about what you want the other person to feel psychologically. By playing these chosen activities you are trying to make the actor that you are playing opposite feel something specific in order to further your action.

So, you have to think: how can I affect the other character by doing what? At this stage you should know who your character is, and your choice of active verbs should be informed by your character choice and not your personal choice. If my character was a loving, open, sweet, sensitive young girl and my dialogue was: "I don't love you anymore, I think you should go", my verb will be determined by my above characteristics and not by the actual line itself. Therefore verbs such as to plead, to get sympathy, to reason, should be chosen, as opposed to verbs that might reflect another type of character, such as to demand, to threaten, to hurt. If in the rehearsal a choice doesn't work then you can change your choice. Nothing should be initially set in stone.

I like to call this process "scoring" your text. Just as a musician or singer would rely on their score to know how to sing or play their song, an actor works out how to play the monologue, scene or play. Once you've done it, you have to play it fully, otherwise it's pretty pointless. The challenge is the execution of it. It's time-consuming initially to find the right verbs, but once you have them and tested them in rehearsal, not only will you have given your performance light and shade but also depth. It also means you do not have to fall into a dreadful cliche performance by thinking of how to say the lines and what you should be feeling and emoting. This technique allows you to be free and truthful without playing external emotion. It's really about what you don't say and trusting that actions will speak louder than words.
10. What must I overcome?
Every actor should always have an inner and an outer obstacle. The outer obstacle is the resistance (usually the other character) to obtaining your action. The inner obstacle is your inner conflict, which you must always plant in a scene even though it can change. There must always be a problem you are trying to overcome. If you think of yourself in life, you're never without an inner obstacle. You'll have seen scenes on stage or screen where the inner obstacle has not been properly planted: you get a load of actors just shouting, over-emoting and sometimes just playing the aggression. If the inner obstacle is there, the anger, fear or hate, for example, then you've got something to fight against in the scene. Much more interesting.

Actors may believe that they can do without formal training. But I have worked with untrained actors, who have landed a film or a TV series on the basis of their looks, and seen them struggle to be able to reproduce what they were able to do in the first take. Natural ability will get you so far, but it's the trained actors who know what they're doing and how they're doing it and can produce that emotion take after take.

To fully transform into a character, to be truthfully and emotionally connected needs hard work, technique, good direction. But the audience should see none of this. They should see nothing other than the fully realised three-dimensional character right in the truth of the moment.

Dee Cannon teaches acting at RADA

What makes an actor truly great?

Great acting, like great writing, is often in the eye of the beholder, but audiences almost always know when they are in the presence of something special. Talent may be enough to get by on screen and TV, but with a few notable exceptions such as Kelly Reilly, the untrained actor often fares badly on stage. The performances that most often thrill us are those where instinct and technique are both in perfect balance but also opposition, and flamboyance and inner life collide head on, transforming feeling into thought and words. When this mixture of abandon and control ignites, what happens is as mysterious as alchemy; the theatre crackles; it leaves the spectator reeling. It makes you believe Eric Bentley's thesis that "the purpose of theatre is to produce great performances."

Many actors have tricks to help them along the way. Laurence Olivier liked his putty to mould a nose, or a costume department hump as much as the next actor. But it wasn't these external props that made him a great actor; it was something that he mined from deep inside himself, something that perhaps the poetic might call soul. You can teach people timing, you can teach them how to stand; you can give them the infrastructure that allows them to take risks, but you can't teach them to be in touch with their own spirit. All great actors are, and it is what makes them distinctive. Fiona Shaw, Clare Higgins, Michael Gambon, Judi Dench: it's as if there is something coiled but restless inside them struggling to get out. When it does, the stage ignites.

Lyn Gardner, Guardian theatre critic

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Character building and what makes a truly great actor

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Acting technique is paramount to anyone wanting to be a serious actor. It's quite easy to imitate a character or even an emotion, but where's the depth in that? How can you sustain or repeat again what you might have found intuitively? Do you even know what you did or how you did it?

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Me and Celine production role evaluation 

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Me and Celine production role evaluation 

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I speak at: 1:29, 4:25, 8:50

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Step by step plan for the performance day

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Step by step plan for the performance day

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I speak at 0:58, 4:10, 8:16, 15:03, 16:58

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I speak at: 0:30

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Please use this space to give any further comments about the production:

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To what extent do you communicate meaning to the audience? Think about devising, performance and production?

I speak at 0:01, 7:00, 13:40, 14:55, 16:50

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Helen gave us feedback after our evening performance

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During the full run through we had our teacher gave us feedback for each scene. My feedback in the opening scene is to walk around the easel and run off stage because this adds to the pace and helps bring life on stage. Also, thinking about Laban style we have a direct pathway to run to. In addition, scene 2 i need to answer the phone after the ringing rings twice. In scene 3 I need to widen my stance so it can allow me to be moved around. To improve the movement I can twist my body so this allows me to react when moving and it flows naturally. Moreover, in scene 4 I need to position myself in a diagonal when I’m sitting down because I need to make sure all three sides of the audience can see me. In scene 9 we have cut the idea of having a drip in the hospital so I won’t be needing to move the easel next to the bed. This is better  for me because it allows me to have a clear direct pathway, as I’m going from the bed off stage. In scene 9 there was a problem with where to put the hospital gown after I take it off Molly to walk around the stage. The solution for this is to leave it on stage and Kyra will be walking around us anyway so she can get it and take it off. Lastly, the song scene is now changed, so when i enter instead of coming in with Aaron and Piotr I will be alone at the back because this will make sense to the audience as I’m Sally. Also, we have put back the movement with our hands when we are walking around the singers because the detail it adds is more engaging to watch especially because it’s when ‘she’ falls in the pool the song builds up the tension.

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20/6/18 Evening Performance Vocal Workshop

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20/6/2018 Blocking Recap for Evening Performance

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20/6/2018 Warm Up for Matinee Performance

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20/6/18 Pool (No Water) Evening Performance (ipad)

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Quartz ID: 157613
Learner ID: 145123
ULN: 3686595973

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This is discussed in my evaluation.

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I asked Stephen how his costume relates to his character and how it relates to pool (no water).

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In today’s rehearsal it was our tech and dress and the main issue we had was blocking. This is because we had to move our positions and think how we could move based on the bigger space. So working in the theatre was difficult at first because it meant we had to scrap the blocking we were familiar with in the dance studio and make it wider to fit the theatre space. A solution for this was to rehearse the scene and semi improvise where we think we should be, keeping in mind the audience on the three sides and if they can see all angles of us.

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In today’s rehearsal we worked particularly on the finale and the way I deliver my lines. Earlier this week I thought about when delivering my lines as a narrator i should look at the audience because it gives more intention and the audience feel involved. This also links to the storytelling workshop we did with our previous teacher. We made up a story and then we had to tell it to the class thinking about our tone of voice and projection and certain words to exaggerate. So when I am narrating I can use those techniques that I’ve previously used to make my delivery stronger.

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In this video I asked Piotr to explain his costume and how it relates to his character and pool (no water)

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I have chosen Molly and Kyra’s costume. Kyra’s character is quite edgy and loud and has an attitude that she doesn’t care about anything especially ‘she’. So I thought I want to show this by having her wear something different to the other girls and something that will make her stand out. I decided to go for the black top because it’s quite edgy, bold and gives the impression that she doesn’t care and that she’s wants things her way. On the other hand, Mollys outfit is the complete opposite it represents purity and welcoming. Based on her character I thought that she needed to wear a colour that would be completely neutral to everyone else and show that she’s not apart of the friend group as such. I decided on the white top because her character is very girly and fashionable and the black jeans makes it stand out but also keeps it simple. For the boys I chose Stephen and Zach. Stephens character can be artsy and creative but at the same time quite chill and laid back so I thought on putting him in a grey tshirt because it’s simple and based on my research not all artists wear bright and colourful clothing. For Zach, I decided on a more sophisticated look, instead of a tshirt I thought he could wear a button up denim shirt which can be smart but also if worn with black jeans it can be quite casual.

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Rehearsals have supported my development for my character because in these scenes I think my strengths are: scene 2, 5, 9 and 10. This is because I feel like my character has really been clear. In scene two is the easiest to show my character because of the beginning but where I fix my hair and I paint my nails that already tells the audience I’m quite feminine also I took in mind the feedback we recieved from out teacher about reacting more to my peers on stage because it looks more realistic and that’s what I did, through my facial expressions you could tell how I was feeling. In scene 5 I am very sympathetic towards she because in scene 2 I defended her so it makes sense that I feel awful about what has happened to her. This also links to scene 9 where I continue to show my caring side towards her and now that we have done many rehearsals I’ve realised that my character is very caring towards she and has a soft spot for her. When it comes to the party scene I show a different side to me that’s more of an extrovert and i really liked when just before I said my line “ no please don’t let this end” I was rubbing my legs to show that I was really high and showing this inconsistent behaviour because even though I seemed really happy and energetic I changed to becoming depressed and that represents what drugs can do to you.

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I have thought about so many ideas for costume it started of being 90’s themed and then eventually started changing it making it more simple because of the feedback we got from our teacher. He told us to keep in mind that we will be doing quite a lot of movement throughout the piece so the costume will need to have alot  of stretch it them and also the colours will need to have a justification behind it. For example we chose the colour blue to be a running colour through everyone’s costume whether it’s jeans or a top to represent the pool.

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After reading through Laban and seeing the different ways we can talk about movement this really helped me with my reflections and being more specific when talking about something. An example of this is when I talked about having a direct pathway in scene 6 as a porter because my intention in that scene is to move mollys bed and put a drip beside her.

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Today me and Celine did a costume check on everyone and we noticed that we had a few issues. Some people told us that they didn’t have enough money to buy the specific coloured shoes we told them to wear however, we saw this as problem solving and we discussed a solution for them. So, we told them that they can wear black or white shoes as it’s neutral and it won’t contrast with the other colours being worn. In addition, we want to make it simplistic so the audience can interpret the characters in their way and to make it realistic as to what we would wear on a daily basis. In our next rehearsal, we will need to see everyone’s final costume so we can check it off.

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In today’s rehearsal we started off by having an improvisation warm up. Tyon lead it and he gave each of us a piece of paper with a scenario. My scenario was that Pool (No Water) was cancelled and the way I expressed this was by exaggerating how angry I was at this. I also realised that I gave eye contact to my peers and this lead me to think that it helped the way I delivered my lines because I had more intention and it became more realistic. So, this warm up really helped me because I am now going to reconsider the way I deliver my narrator lines and instead of looking at what’s going on around me, I will speak to the audience to keep them engaged and also make them feel involved. This will therefore improve my tone of voice as it will be consistent with intention. Our aim today was to do a full run through to see what we needed to sort out and we worked on the transitions. The hospital gown was worn in some scenes and it was very helpful because I now know that I have to be quick when putting it on and off and when I’m with Molly I can now take hers off and not pretend to. The feedback I got from my teacher was that the intention in my character and my presence on stage was strong in majority of scenes. However, my teacher also told us to write a list on scenes we need to improve on and I think I need to improve in scene 3 because I need to show that I’m weak and allow my body to be relaxed so I can be moved around. Also, I’m scene 6 I need to have more confidence when being the porter because it’s not as strong as it could be. Lastly, what I will do for next lesson based on the feedback I recieved is to look over the notes I did on the intention my character has in every scene as a narrator and Sally, so that before I go into rehearsal I am prepared.

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Me and Celine sent a message to the group chat so that every one would be aware about the costume check.

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In the notes above I took into consideration the questions of how to develop a character and I wrote down these notes for Sally’s background. It’s based on what I know from the script and also my opinion on Sally.

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Line: “no, no, no, no, she’s always been a very moral person. She’s always had a strict code of morals.”

What I will do? When saying this line i will have a faster pace but articulate more.

Justification/why? This is because my intention when saying this line is to defend ‘she’ when I’m talking to my friends. Also, I need to articulate more because when I speak fast my words tend to not be as clear.

Line: “good to”

What will I do? When I say this line my pitch will become higher.

Justification/why? The reason behind my pitch getting higher is because I’m really excited to see ‘She’ and be in her house for the first time.

Line: “you see you flew, yes you reached out your wings and you flew above us, and that’s okay, you tried and-“

What will I do? I will say it in a caring tone and as if I’m trying to reassure ‘she’.

Justification/why? I will do this because my character is the only one who really likes ‘She’ so when I see her in that state, I try to convince myself that it’s okay.

Line: “you can see what you look like, yes? But maybe you shouldn’t, maybe it’s best.”

What will I do? I’ll start off my saying it in a gentle tone and then I will pause and change to a quicker pace.

Justification/why? My train of thought changes because I don’t want her to see her wounds so by saying it in a quicker tone this shows the audience my change of thought.

Line: “She is so good at what she does, she has shown at such fantastic galleries, you really learn from the way she works, which is such a privilege.”

What will I do? I will say this in a slower pace to really emphasise what I’m saying. I will also say it in a proud tone.

Justification/why? In this scene I’m really proud of ‘She’ for her attitude towards the hard copies.

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In the initial stages me and Celine had to communicate with the directors to hear their vision on the characters and their dress style. From that we gathered ideas and put it into mood boards so we could have a wide range of things to choose from. As the weeks went on it Made it easier to narrow it down because we were working on the scenes I had a better understanding of the characters and overall the time period.

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Sue Wilmington is a Costume Designer who has worked on a number of productions at the National Theatre. She and Carol Lingwood, head of costume, discuss the role of the costume designer in a theatrical production, and how they go about producing their initial designs.

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Seeing this video is really inspiring because it made me think that being in charge of costume is very important and what makes the play go on. Having this role you need to make sure that you have an eye for detail because it can make the biggest difference.

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6/6/2018

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In this scene we are all really drugged up and we are deleting the pictures we took of ‘she’.

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Here we are refining the movement we have already got to make it more naturalistic as we are having a party.

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I was absent all this week because I was completing my work experience.

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We sent the final costume designs to the groupchat, so that everyone is aware of what they now need to buy/bring.

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(Celine)

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(Sabrina)

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Overall, me and Celine have decided to make the girls wear bolder and colourful clothing to represent the pool, art and their individual characters. I believe that the boys’ characters represent a laid back, casual and simplistic look and we thought that this is clear with what we have chosen for their outfits. We also put no accecories because it’s health and safety and also they need to be comfortable and flexible to move around and not get anything caught in clothes. We wanted to make the costumes as realistic as possible and what we would wear on a daily in this present day. Also, by having them in simple outfits this allows the audience to imagine and interpret the characters in different ways and not be stuck to just one idea.

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Costume for each character (rough version)

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Costume for each character (rough version)

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Present day

Sabrina’s costume: blue jeans with stretch, colourful top (pink), trainers, hospital gown (when needed), small hoop or stud earrings, natural makeup (mascara and lip gloss), and hair in half up half down.

Celine’s costume: dungarees with a bright colour top underneath, trainers, hospital gown (when needed), small hoop earrings, natural makeup (mascara and lip gloss) and hair in half up half down.

Stephen’s costume: black jeans with a grey/blue T-shirt and trainers.

Piotr’s costume: blue/black jeans with a coloured T-shirt, and trainers.

Chloe L’s costume: blue jeans with stretch, blue top, white trainers, hoop earrings, mascara and nude lipstick, and hair tied up.

Zach’s costume: black/blue jeans with a coloured T-shirt, and trainers.

Helen’s costume: blue jeans with stretch, blue top, trainers, stud earrings, mascara and nude lipstick, and hair down.

Chloë’s costume: blue jeans, coloured top trainers, hoop earrings, mascara, eyeliner and lipgloss, and hair half up half down braided.

Tyon’s costume: black jeans, blue T-shirt, and trainers.

Sashin’s costume: blue jeans, coloured plain t-shirt, and trainers.

Zeba’s costume: blue jeans, blue top, trainers, stud earrings, mascara, lipgloss and hair down.

Aaron’s costume: blue jeans, coloured T-shirt and trainers.

Chaimaa’s costume: blue jeans, coloured top, trainers, mascara, nude lipstick and hair up.

Kyra’s costume: black jeans, blue top, trainers, mascara, eyeliner, bold lipstick and half up half down hair.

Molly’s costume: a white flowy dress (with white shorts underneath), pumps, mascara and lipgloss, and hair half up half down.

Me and Celine have decided on everyone wearing these outfits because we want it to be realistic, and also comfortable for them to do movement in. Also, I’ve changed a few things like accessories and makeup so that every person has something that resembles there character. Lastly, I decided to put some people with blue tops to represent the pool but not make it too obvious by putting everyone in it.

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31/5/2018 photo shoot and movement refining rehearsal

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We read through the script before blocking so that we could fully understand the scene, the relationships between the characters, especially 'she'.

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29/5/18 scenes 9 & 10 read through & discussion

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Love and hate workshop about our character

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Love and hate workshop about our character

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we did this character workshop to develop our understanding of our character and really feel like we are embodying our character. This exercise also helped me think more in depth about how Sally actualy would think about herself and others.