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Within each log/plan are references to influences in terms of styles/practitioners/other companies.

As my role as Director it was my job to plan and reflect on all rehearsals to ensure that our production came together. I was also in charge of where and when we had our rehearsals.

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All videos within this section is footage and images from within the rehearsal room. They can be matched with exercises that are found within rehearsal plans under the first column.

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https://drive.google.com/file/d/18sf2WSosrAI1Sy54-Ukbo_c2uvKte2Ek/view?usp=sharing

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A picture submitted by member Ashley, showing what her teen years were like.

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Picture submitted by company member Emily. Shows her friendship group in high school.

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The narrative within this piece let the young characters shine and the audience sympathised with them, letting them become the true heroes and victims of these events.

The use of the desks was also extremely significant, it was a minimal and simplistic choice that led to each each scene location flowing together seamlessly.

Image Reference:
The Other Richard. (2016) Trojan Horse. Available at: https://www.live.org.uk/whats-on/trojan-horse (Accessed: 16/02/2020).

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The Curious Incident of the Dog in the Night Time by Frantic Assembly

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The Curious Incident of the Dog in the Night Time by Frantic Assembly

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My main inspiration is coming from the ensemble worked used within the production. Although there is the principal characters throughout the action wouldn't continue and it couldn't happen without everyone there.

The ensemble adds texture to the show, being used for lifts and moving set. It keeps the action constantly moving and dynamic.

Image Reference:
M, Brikoff. (2018) The Curious Incident of the Dog in the Night Time by Frantic Assemble. Available at: https://www.curiousonstage.com/learning/ (Accessed: 16/02/2020).

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As a group we discussed that we wanted to link the costumes together using the colour purple. This is in both the school uniform section and 'party wear' section.

Aesthetically it will be more appealing to audiences. Purple is a neutral colour that isn't linked to gender. And it has been used within our marketing so it provides a good link between performance and  advertisement.

Image Reference:
McInnes, K. (2018) Happy. Available at: https://www.stokesentinel.co.uk/news/stoke-on-trent-news/meet-happiest-high-school-britain-2249072 (Accessed: 16/02/2020).

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The depiction of young woman in this piece is fantastic, they don't dumb them down they are smart and complex characters. I want my characters to appear as so and have the same audience and character connection as seen here.

Costume was also used very well, allowing their personalities to shine through.

Image Reference:
Bodlovic, M. (2019) The Panopiticon. Available at: https://www.thestage.co.uk/reviews/2019/the-panopticon-review-at-traverse-theatre-edinburgh-a-striking-performance/ (Accessed: 16/02/2020).

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'Dear Diary' is a Theatre in Education Piece that will be used to empower young females. We want to explore a range of issues that could be seen as taboo or are not touched on within school curriculum. We want to enforce the idea of surrounding yourself with good relationships and being proud to be you.

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During the process we want to ensure that we always find ways of making our work accessible, making work very visual and using BSL to influence our creating of movement.

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Starting to read Making Contemporary Theatre I have began to gather a clear image in my head as to how Forced Entertainment works. The books explores their journey through the creation of their show 'The Travels'.

They have several phases when it comes to creating their work. In this case they went through a process of 'live games' that they played. This was a huge range of games and ideas that focused a lot on the fiction, or "virtual reality". One game that stuck with me when looking into this was a game where one person posed an emergency and the other person in reply with bad advice e.g. "How can I get back with my girlfriend"?, "Kill her dad.". From what I gather this is a time for them to try as many diverse and unusual ideas as possible then discuss afterwards. They never force anything with these games, they should start naturally from stimulus that someone has brought in. They explore an idea till they decide that the commitment is lost and they discuss why. They don't ever throw anything completely away however, the idea may not fit this project so they save it for a possible future use. In this case the game was played for only one day and was decided that the tone wasn't right for what they wanted to do and the company were becoming bored of it. So they move on and they keep going and going. They work on this stage for a month. And after this point they have nothing concrete in place.

They take a break and come back in September, their show happening in August. And although they have nothing it doesn't panic them, "Its status means that individuals are not under outside pressure to make premature decisions." Meaning that again they make choices naturally and nothing is forced. Within this time period a discussion happens that leads them to talk on fortune telling, from there it becomes a series of prediction games. From there they are tasked with writing about 'towns and cities where you know the name and flavour of it, but you've never been'. When performing these they found a spark of something that they quite liked, all the stories depicted people alone in a strange place in which they had never been. It made them vulnerable and almost child-like, which they liked.

And like that their system has been naturally created, they visit streets randomly in the UK and they come back to the group and share their findings. A nice quote from the book and eventually in the play, "So often the feeling that yesterday, or even five minutes ago might have been a better time to arrive. That maybe yesterday there were lovers on Love Street where it cuts through Science Park, but that for now there are only gardeners."

Forcedentertainment.com. (2019). The Travels | Forced Entertainment. [online] Available at: https://www.forcedentertainment.com/projects/the-travels/ [Accessed 9 Dec. 2019].

Mermikides, A. (2010) 'Forced Entertainment - The Travels (2002) - The anti-theatrical director', in Harvie, J and Lavender, A. (ed.) Making contemporary theatre. Altrincham Street, Manchester: Manchester University Press, pp.101-120.

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A key idea that we want to use when creating our piece is that we want it to be accessible. We started off wanting to make our piece completely audio described, interrupted by a signer and subtitled. We were faced with the reality that this might be out of a depth, considering that people train for years to get to this point of knowledge. We instead decided to focus on one area, that area being BSL and rather than having some interpreting every word, how we can use it in our own way and use it as a technique to create.

We want to investigate the use of BSL within our performance. For this we are researching the Performance course at the RCS in association with Solar Bear where they are, “exploring the most innovative ways of creating performance through British Sign Language and English” (Royal Conservatoire of Scotland, 2019). Within a video that they have created they talk about the importance of physical language. They want this to become more of a mainstream way of communicating in theatre. Within our process we will be looking at their approaches of creating physical language in our piece. Starting with BSL as base we can explore phrases and words that resonate with the piece the most and develop our physical language.

Royal Conservatoire of Scotland (2019). BA Performance in British Sign Language / English. [video] Available at: https://www.youtube.com/watch?v=3jjkMwMWTNM [Accessed 7 Nov. 2019].

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This was a book that was given to me by a peer when I was struggling to come up with choreographic devices to create movement for my piece. This book was clearly more dance-discipline focused but played about with a lot of concepts that I found interesting.

The exercise that I ended up using was named, 'Featured Attraction' and I used whilst I was exploring Body Image with the company.  The book encourages using the body and exploring it's limits. For me this seemed like the perfect exercise to use with our chosen theme.

Reference:
Blom, L.A. and Chaplin, L.T. (1982). London: University of Pittsburgh Press. p.84

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https://drive.google.com/file/d/1x6mwfu9T09TjAbAKeT_K656ynh9BSUPH/view?usp=sharing

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https://drive.google.com/file/d/1CdLlrRWgT5zgSFMTFbvn7qKqC5pe1gjy/view?usp=sharing

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https://drive.google.com/file/d/1ajrfLq3y6_wMMwqvZqXeOi78jq6r9K4l/view?usp=sharing

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https://drive.google.com/file/d/1-j6kRRDPCABgJyaVotz8YYzwCR8f2Otz/view?usp=sharing

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Frantic Assembly is really easy and accessible way into creating your own physical theatre. I am hugely inspired by Frantic Assembly and have up in till this point been really enjoying trailing different exercises in select groups. They were clearly explained and I found often worked really well in groups. It has helped me become better as a facilitator and widened my eyes as a creator. But now I have wanted to delve in deeper and begin to think more adapting the exercises and creating my own ways of working.

A section that I have found particularly interesting was the work that they did on Little Dogs. There was a use of a club scene within it and they go through the process of how they created it. They started with a tight group of people and found ways for people to move through the group, asking them to focus on the levels they were taking and what exact movements they were making to do this. They were then told to use the movement to create a sequence for themselves. I can see this idea of pushing as new exercises all together. Looking specifically at the idea of one individual pushing through a group. and the shapes that the person can make and the lifts that can be used.

They also discuss lifts and and the weightlessness they wanted to achieve. They were struggling with this until someone suggested it was 'like a Callipo'. Like the ice lollie you need to think of squeezing it then pushing it up. Find that centre and using that to control a strong lift up.

They were very strongly as an ensemble and it's an idea that I want to take further and the inspiration from this class has meant that I can continue with the ideas through into my other productions.

Graham, S. and Hoggett, S. (2014) The Frantic Assembly Book of Devising Second Edition. New York: Routledge.

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https://www.youtube.com/playlist?list=PLaLKcZ3DGPJbwiUFrOOmpw9bmLPMhCZzO&fbclid=IwAR0R2LqjNmEGrmVQggXXJpBITfn2mU-9gt7F6Dd9v4nTEYk-TGw2LMOYims

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Listed in this document is the structure we had for the entire show. At the two week mark we had devised all elements and it now came down to me to put them all in order.

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It was my role to operate the sounds during the production, here is the cue sheet I would have used.

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I created set plans to match the movement of the blocks used throughout the piece. Staging was intended to be set in the round, however after visiting our external venue we opted to have this performance set in thrust and using the in the round staging for our larger venue.

These plans show the staging in the round.

As seen in the plans we place our down stage centre, etc. this was important for the entire company so we had continuity and consistent understanding within rehearsals.

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We will demonstrate pages from a diary, a scrapbook of notes using a mix of physical theatre, dance and text work. Showing glimpses of what it is like to be young, female and living in Scotland today.

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Ankel, S. (2019). What I learned when naked pictures of me were leaked online | Sophia Ankel. [online] the Guardian. Available at: https://www.theguardian.com/commentisfree/2018/mar/22/naked-photos-leaked-online-abuse-sexual-harassment [Accessed 4 Nov. 2019].

BBC News. (2019). Scotland's 'period poverty' bill lodged. [online] Available at: https://www.bbc.co.uk/news/uk-scotland-scotland-politics-48027903 [Accessed 8 Oct. 2019].

Blom, L.A. and Chaplin, L.T. (1982). London: University of Pittsburgh Press. p.84

Boal, A. (1979). Theatre of the Oppressed. London: Pluto Press.

Boal, A. (2002). Games for actors and non-actors. 2nd ed. New York: Routledge.

Britton, J. 2013 Encountering Ensemble. London: Bloomsbury Methuen Drama.
Forcedentertainment.com. (2019). The Travels | Forced Entertainment. [online] Available at: https://www.forcedentertainment.com/projects/the-travels/ [Accessed 9 Dec. 2019].

Graham, S. and Hoggett, S. (2014) The Frantic Assembly Book of Devising Second Edition. New York: Routledge.

Kleon, A. (2012). Steal Like an Artist. New York: Workman Publishing Company.

McBurney, S (2016). The Encounter.  London: Nick Hern Books.

Mermikides, A. (2010) 'Forced Entertainment - The Travels (2002) - The anti-theatrical director', in Harvie, J and Lavender, A. (ed.) Making contemporary theatre. Altrincham Street, Manchester: Manchester University Press.

Royal Conservatoire of Scotland (2019). BA Performance in British Sign Language / English. [video] Available at: https://www.youtube.com/watch?v=3jjkMwMWTNM [Accessed 7 Nov. 2019].

Saville, A. (2019). London Road: On Ethics in Verbatim Theatre - Exeunt Magazine. [online] Exeunt Magazine. Available at: http://exeuntmagazine.com/features/london-road-its-about-ethics-in-verbatim-theatre/ [Accessed 7 Nov. 2019].

Strange Town. (2019). TOURING: Balisong - Strange Town. [online] Available at: http://strangetown.org.uk/projects/balisong/ [Accessed 7 Nov. 2019].