My initial opinion on this script is that it is definitely quite funny, but confusing, abstract and quite repetitive. I do like the play and I am excited for turn it into a reality but I think it will be quite a challenge because it's so hard to decifer and differentiate the characters from each other and I think a lot of time will be in creating our own opinions on the script and the characters. I agree that our group is fit for this job and I believe that we can bring these characters to life and give them more 3 dimensionality.

I feel I was somewhat successful with my audition, we weren't given very much time and I struggle with learning lines so I tried very hard the night before to learn the words for the audition, though the scene I chose was very short and didn't display the character very well. I chose that scene because it had the least amount of lines,

I found it hard to learn because the dialogue is so casual and awkward, a lot of 'um's and 'oh's and repeating words, which is very similar to people talk in real life so it works forth play but as someone like me trying to learn the lines I get so mixed up what order the words go in because they dont make much sense.

despite that I tried my hardest on the audition and was very nervous, I could have done better but I dont think it went to bad, I was one of the few people off script and one of the only people auditioning for the chicken character (number 14).

I heard from somebody else that they thought my audition wasn't very good and that I messed up, but I did make a mistake on one line but I improvised it on the spot and i dont think anyone who didn't have the script would have noticed and it still made just as much sense when I changed the words slightly so I didn't think it was so bad, but I do think the way I said the lines sounded like I was confused or nervous but I acted that way on purpose because thats the point of that scene.

• Why would you like to audition for this role? 🤔

I am always a fan of characters that are related to animals in some way, I already know ill be doing a lot of work with prop making and costume making and I would like to make a chickens themed costume that I can actually use, because in the last play we did I dint get to use the props that I made. I also think the chickens character will stand out a little more then some others but wont have too many lines to learn thankfully.

• What skills do you have to execute this role? 

I think in this play a lot of the characters act very similar, I think that is because it is a dream and in dreams the overall vibe is quite uncanny and serious, so most of the characters talk and act in the same very natural but slightly odd way so picking a character was slightly tricky for me, but I think I can execute the role of the chickens quit well because they seem so shy and submissive which despite being a side of my self I dont like to own up to I am definitely a bit like that and think I can use that to embody this character quite well.

• What is happening in the scene?💪

the chickens is talking to 22 about overhearing them talking to themselves, the chickens feels like they relate to them and wants to offer them support but 22 declines in a slightly judgmental way. the chickens is a slightly shy and timid person and accepts what they say and leaves them alone.

• What is your character’s goal? 🎯

my characters goal in this scene is to be a nice and supportive person. but in the entire play their goal is to escape being slaughtered and help the other chickens.

• Who are they talking to, and how do they feel about this person? 💬

number 14 is talking to number 22, its their first time meeting, 14 is trying to be nice and supportive but is slightly rudely talked to, and so number 14 cowers and gets slightly shy about it, and lets 22 talk to them like this. (number 14 is quite submissive)

we did a lot of walking around, filling the space, thinking on our feet, being confident and self assured, hand to eye coordination and working on common impulses. As we have learned in the past this is all very useful it helps warm up your body and get you in the physical and mental state to be able to act to your full potential, it also will help sharpen your mind and build you skills.

all of these things will be helpful for our performance as we will be focusing more on ensemble work.

we learned about the Laben efforts technique,

direction, speed, weight and energy, this was helpful to create a character, that even with just a way a person carries them self there is a lot of character that you can create which is shown by many aspects and being bal to master all of them will make you a good actor.

The term was coined by a man called Hans-Thies Lehmann, it was first featured in the book he made. Post-dramatic theatre is when you create a performance that dissent follows the usual storytelling structure. Hopping between times for no reason, portraying things differently focusing more on aesthetics, performance, and experience rather than plot-driven narratives are all different elements of post-dramatic theatre. 

• How does post-dramatic theatre differ from traditional dramatic theatre? 🤔

Regular theatre usually has a linear timeline, a middle end, and a start. The characters are clear and have meaning and development and it is supposed to be an immersive story that you are meant to be one with, whereas post-dramatic theatre is the opposite.

• Research at least two key practitioners or theatre companies associated with post-dramatic theatre (e.g., Heiner Müller, Forced Entertainment, The Wooster Group). 🎭👥

Heiner Müller was a German playwright and for fun, he would take plays and remove their linear storytelling, he also created some post-dramatic performances that were similar to what Lehnmann had created, focusing on disjointed imagery, surreal settings, and symbolic gestures. Forced Entertainment embodies many characteristics of post-dramatic theatre. They include: Deconstruction of Narrative & Fragmentation, Direct Address,  Improvisation, and Minimalism.

• Identify and explain at least five key characteristics of post-dramatic theatre. 📝💡

Nonlinear narrative: meaning the performance is in disjointed orders and skips between times meaninglessly 

Performance over text: there's less of a focus on script and more on abstract movement and gestural sounds and visuals.

Audience involvement: your not just watching the play you are part of the story by breaking the fourth wall and addressing the audience directly.

Nonrealistic world: regular theatre tries to mimic reality but in post-dramatic theatre,e they don't care about making it realistic

Multimedia: they incorporate different things such as dance and digital media. 

Postdramatic theatre - Wikipedia

German Literature - Heiner Müller

Forced Entertainment | About Us - Forced Entertainment

in groups we made small dances using everyone's input and then we merged all the dances together to create one big dance, it was interesting and useful working together on a dance even though not all of us are very good at dancing it is still useful to hear everyone's input

Some songs I've found:

Peepy's theme by item label

Light Shower by Melanie Martinez

PFUDOR by fluffle puff

HANSEL by SODIKKEN

The amazing digital circus theme

konoyo loading

I'd rather sleep by Kero Kero Bonito

daisy bell

Any song by Jack Stauber

Possibly in Michigan

fallen down from Undertale

warm nights xori

Treehouse Alex G

baby my phone

Megan was the lady who came and did the workshop with us. What stood out about her to me was that she reminded me of my English teacher from secondary school, Miss E-P, who I am very close with.

I often find people who remind me of her, both personality-wise and looks, though the reason this is significant is that I often find that that kind of personality stands out. Megan was very intense and pushed us; she was loud, confident, talented, assertive, and exciting. She was like a much more brutal Miss E-P, which was both comforting and scary to experience.

I felt slightly overwhelmed the entire time, but she managed to get me working, and that is good!

In the workshop, we first started walking around as if we were being led by different points of our bodies: nose, head, chest, pelvis.

Megan focuses today on characterization. This first exercise was useful because so many different personalities can be portrayed with just the way you carry yourself, and for an audience to notice that straight away is very powerful.

We then acted out being at a train station in character. My character is quite timid, submissive, and lonely, so I kept my body language reserved and small. I think there was a lot of parallel in that to how I carry myself in certain situations in real life. I often feel anxious and try to make myself as small as possible. Hence, I don't feel like people will notice me in a space, and so I used this as an advantage to channel those feelings, and I think I portrayed that well.

Next, we did the morning routine of our characters 5 times. This was useful to get into the mindset of our characters and feel like we've been in that mindset for a while because I felt like I was that character after the first few times. Since I knew off by heart what to do, how to do it, and when to do it, it felt like I was living my character's life for that moment, doing something small, monotonous, and private.

Lastly, we sat on a chair in turns and had questions asked to us. I think after all of the improv work we have done recently, I think that helped, and I think my character is quite easy for me to put myself into the shoes of. I know my character's motive intentions and goals and also their characteristics, so I know the tone in which I will answer and what things I will say.

We also made mini monologues of our characters, I decided to write about my characters initial thoughts of slaughtering chickens, justifying their beliefs and giving more context to how they feel about humans, chicken's, and who they are as a person, beyond what the script includes. I think it was in character and useful!

In this lesson we did see activities like walking around, doing actions, mining in slow motion and making some mini performances including these characteristics.

doing these things were useful to me because it taught me that there an be a lot of power in the time it takes to do certain movements, speed can add a lot of drmatival effect twether that is fats or slow. its a useful technique to use and can better crate the vive of post dramatic theatre which I find quite uncanny m=abstrat and whimsical], fuy

w eta sprouts that we have to fulfil l in our mini performances, less words, sound scape, slow motion moving and other things,

this created a very spooky and eerie atmosphere

I wrote about scene 3 2 and 1. this is useful because having a deep understanding of the scenes, characters and context is vital to interpreting it and adding to it. after this we discussed as a class so we can all find out about it together.

I sat and watch white the people in the scene rehearsed, its important for me to watch and pay good attention so I can understand what’s going on and be able too contribute . I also use the time to start writing down all the props that are going to be needed and also designing costumes.

I was in one of the scenes, I now know where I will enter and exit from, where I ill go what ill say and what actions I will do.

I will sit on the chair and say my lines, my legs resting on top of the table. I'll then look to the sky as a talk. I'll hold the chicken in my arms and hug it; I'll take it with me as I go back stage.

I think this will be very effective, but I'm also very nervous that I'll be on stage all on my own for the first time in my entire life! But it'd a short scene, and as long as I know my lines entirely off by heart then i should have nothing to worry about, and at least i wont have to worry about anyone else having to do any cues or remembering their lines because its just me, i also dont have to look at the audience.

Research Simon Longman: 🔍

Simon Longman is a British playwright, he is well known for how he portrays everyday life. He grew up in the countryside, which impacted his work; he likes to write about the challenges of living in those kinds of environments. Longman has also added to the arts community as an ‘Associate Artist at Kestrel Theatre Company’, collaborating with prisons across the UK, and serves as a ‘Lecturer in Scriptwriting at Bath Spa University’. He has written Gundog, Milked, Island Town, Sparks, and Patient Light. Some common themes in his writing are high emotions, often in a rural landscape, topics of aspiration, and human relationships. He likes to portray feelings of entrapment in this play. 

Complete the Attached Document: 📄 

1. Biography: 

• What is the playwright’s full name?  Simon Longman

• Where was the playwright born and raised? West Midlands

• What educational background does the playwright have? He studies drama in Manchester.

• Are there any significant life events or experiences that have influenced the playwright's career? Living in rural areas, Royal Court Young Writers Programme, Winning the Channel 4 Playwrights' Scheme & George Devine Award, Working with Priso.ns 

• Career and Works: 

• What is the playwright best known for in the field of theater? He's best known for creating stories about rural living and focusing on overlooked communities.

• What themes or subjects does the playwright’s work often explore? Human connections, loneliness, grief, you , and nature

• Can you name some of the playwright’s most notable plays or productions?  Gundog, Milked, Island Town, Sparks, and Patient Light

3. Style and Influences: 

• How would you describe the playwright’s writing style? E.g. classical or contemporary contemporary 

4. Impact and Recognition: 

• Has the playwright received any awards or recognition for her work as a playwright? 49th George Devine Award and  Channel 4 Playwrights' Scheme

• How have the playwright's plays been received by audiences and critics? He is mostly well-received and respected in the industry as a successful and good playwright.

5. Personal Reflection: 

• Based on your research, what do you find most intriguing or inspiring about the playwright? I think he is quite intriguing. His plays all seem quite different from mainstream, and I think that is pretty cool. 

Simon - Sala Beckett

Simon Longman interview - Entertainment Focus

IslandTown:: Modern Plays Simon Longman Methuen Drama

Simon Longman Playwright

A key characteristic of Robert Wilson's work is movement, he often uses it instead of words to convey meanings in more unconventional ways. He also uses lighting, he considers it to be the most important part of theatre. In his performances, they are known to have a lot of intricate lighting and hundreds of different cues, once again using this as an alternative way to traditional ways of storytelling. He also uses sound. He's known for collaborating with composers, he works on creating interesting soundscapes and layering sounds to create a complex atmosphere that further emphasizes the stories he is displaying. Wilson also uses text, but uses it unconventionally; he often purposefully lacks expression and makes the delivery monotone. He also uses set design in a mostly simplistic way; his sets are minimalistic but impactful, and he uses bold colours and geometric shapes. Robert Wilson likes to emphasize time in his performances, highlighting certain movements by slowing them down or speeding them up. Not only does this emphasize moments, but it also can create deep silences that can make more of an impact and hold the attention of the audience. Wilson uses postdramatic theatre and visual theatre, which makes him different from other playwrights. His performances are not linear or normal; they're abstract and focus on other elements rather than dialogue, like most traditional theatre pieces. 

I watched over 2 hours of Einstien on the Beach, and I noticed there were contrasting moments of fast movement and slow motion movement, these often were done at the same time by different people or switched at moments, all of this layering together created a very deep, mesmerising atmosphere. The lighting was quite simplistic, not flashing, no colours, just dark, mysterious lights and spotlights. This was effective at keeping focus on the parts of the story that were most important. As for sound, there was an orchestra of people playing instruments at moments, often slow, quiet, or fast and loud, creating an intense feel throughout the performance. There were also human sound effects used to create an eerie soundscape. Wilson used things such as set design, music, movement, and costume to put across ideas and concepts. There were few words and the words were mostly said in a monotone or repetitive way, so there wasn't much story being told through the dialogue; rather, it was displayed in the other elements, such as movement, and this is quite different from traditional theatre. I believe that this production and his style in a general sense convey complex emotions and themes such as panic, injustice, joy, sadness, and anger; these are all displayed in the different media that he uses in these productions. 

Robert Wilson - Guild Hall

Robert Wilson | American Theatre Director & Producer | Britannica

Robert Wilson - The Watermill Center

Robert Wilson – Theater without the Drama

Light as an Active Participant in Space: Robert Wilson’s Minimalist Approach to Stage Lighting | ArchDaily

Robert Wilson – The Theatre of Visuals – Out of the Box

 In scene 1, there is a mention of the past, how the dreams come back around like a circle, which means there is a reference to the past and time. Number 1 always remembers the same thing happening, referring to memories.

In scene 6, there is a farmer and they are dressed in the olden days and also are aware that they are from the past, as well a their dad

.

2. Trauma and Healing:

In scene 3, the characters discuss jobs that they were told they should do. Most of the talk is about how they have a very strong hatred for that job, such as hating small spaces or hating fish, maybe that could be due to past trauma surrounding those things.

Scene 8: 21 is traumatized from being forced to cut people's limbs off

Scene 17: The chicken holds a funeral for the other chickens

Scene 22: The water carriers find the dead fish and start to feel guilty. Maybe the dead fish represents some traumatic event.

 24: The cow gets revenge on the people who kill cows

Scene 25: They have a funeral and talk about the person who died and life in general

3. Time and Reality:

 In scene one, the dreams are mentioned to be repeating, and time doesn't exist in the dream.

 In scene 3, they discuss dreams they had, but that scene is also a dream. 

In scene five, the ominous voice talks about circles and dreams, referring to the past and time, and memory

Scene 14: They debate whether you can die in a dream and what life after death is

Scene 17: The chicken knows they are in a dream and tries to reach out to the person dreaming

Scene 19: The characters are forced to be water carriers even though they are aware that that job doesn't exist anymore

4. Connection and Isolation: 

Nobody understands number one in scene one because they are dreaming, and everyone in the dream is unaware of what that feels like. 

In scene 6, the farmer says that they are lonely and feel isolated

Scene 8: 21 feels isolated from being forced to cut off limbs

5. Dreams and the Subconscious: 

Every single scene of the play is believed to be a dream; most of the time, there is at least one character on the stage who knows that it is a dream, and the other characters are figments of their imagination. 

 In scene 3, they discuss dreams they had, but that scene is also a dream. 

Scene 4 has a bunch of characters who are in a dream and don't realise it, but the chicken is self-aware and breaks the fourth wall. 

In scene 5, the voice discusses a dream.

In scene 6, number 15 doesn't notice the year in a dream until the farmer mentions something unrealistic, and the farmer knows they are an unreal person in the dream.

In scene 7, 19 remembers the events happening in a dream because they are still dreaming, and it's just looping over again.

Scene 10: 24 tried to wake up once their dad tried to kill them

Scene 14: They discuss whether you can die in a dream

Scene 15: One of the characters is forced by their dad to do their job, and so he has a dream about it

Scene 17: The chicken knows they are in a dream and tries to reach out to the person dreaming

Scene 21: They explain a dream they had about getting shot by a cow

Scene 26: it's back to the xstart and goes again in a circle forever

Social Themes:

1. Family and Dysfunction: 

In scene 6, the farmer doesn't like their father and doesn't want to do the job he made them do

Scene 10: 24 is forced to be a butcher because their dad made them do it, and their dad shouts at them

Scene 15: One of the characters is forced by their dad to do their job, and so he has a dream about it

Scene 18: One of the miners doesn't like their dad

2. Mental Health and Emotional Struggles:

 In scene one, number one said that they are unhappy about being in the dream; their mental health is deteriorating

In scene 5, the voice seems to be emotionally stressed and distraught 

Scene 8: 21 suffers mentally and struggles to cope with the trauma that comes with cutting off people's limbs

Scene 22: The water carries the dead fish, and starts to feel guilty 

3. Intergenerational Trauma:  scene 3, they talk about a kid who got butchered, and his dad is a butcher.. This may represent intergenerational trauma.

In scene 6, the farmer has no friends because their father stops them from meeting people and shoots everyone who comes near.

Scene 10: 24 sees their dad as a kid their age, which represents how they view their dad as childish and making bad choices

4. Loneliness and Social Disconnection: 

In scene 1, number 1 is upset about feeling disconnected from the real world and being in a dream, 

In scene 2, 4 comes across as a pretty lonely person as they talk to the fishmonger worker.

 In scene 4, number 12 may be the person who is dreaming, they feel like they aren't being heard by their friends who are talking over them.

In Acne 6, the farmer is lonely

Scene 17: The chicken is lying

Scene 22: They let the fish die

5. The Search for Meaning and Identity: 

In scene 2, number 4 talks about bringing crabs back to life as a way to represent the way they're confused about what job and their purpose they have. 

In scene 3, they discuss jobs they may have. 

I scene 4, 12, is confused about the chicken that falls from the sky

Scene 7 represents doing the same laborious tasks over and over again with no meaning

Scene 11: Someone has a dream about match dipper, old jobs present the lack of purpose they feel

Scene 14: one of the characters is bad at candle making, but is forced to make candles, and so they feel like they have no true meaning anymore, and have no hope left

Scene 18: The miner wants the planet to hit Earth because they want something to make them feel like there is meaning to life

Scene 24: The cow gets revenge, but doesn't feel great about it.. Revenge is barely important since the world is already ruined

6. The Influence of Society on Personal Struggles: 

In scene 2, number 4 has given up on their life goals because they have been told that theft is not a viable option,

 In acne e3, a careers adviser told them what jobs they should have. 

In Acne 7, the characters are forced to pick apples because they are afraid of the consequences of not getting a job.

Scene 11: 26 doesn't want to be alone, so they don't mind breaking their legs just so they can join the others.

Scene 14: one of the characters is bad at candle making, but is forced to make candles, and so they feel like they have no true meaning anymore, and have no hope left

Scene 17: The chicken is upset about the slaughter of the chickens 

Scene 21: they feel like a dream to be an astronaut is impossible

Scene 24: The cow gets revenge, but doesn't feel great about i., Revenge is barely important since the world is already ruined

Scene 25: They have a funeral and talk about the person who died and life in general

I will walk into stage with a torch il put it down and a spotlight will come up, ill burry the chickens in a flower bed, cover them u and put some courses on them, ill say some lines, look up at the sky, and then the spotlight will come back onto me again once I'm alone and ill say my lines.

What I learned in terms of blocking for this scene is that I will come in through the back door again. I will stand next to Jay (who plays the character who cuts legs off). I will put a hand on her shoulder as I try to comfort her, saying my lines. Once she shuts me down, I step back slightly and awkwardly reply. After that, Jay will walk off stage, and I'll look at her as I reply. Still, once she disappears, I look to the audience, saying some of my line, and then the last part of my line, I'll say while walking off.

Other than that, I took note of props and costumes some more. I think this lesson went very well. I was on my A-game, and we all progressed in the rehearsal process quite far. I have a lot of faith in this production, and I am very excited for it. I will continue to practice my lines every day until I am 100% confident.

We choreographed a piece where we all move slowly towards each other and then circle, and then disperse. It is simple but effective

scene 8 was rehearsed, and I made sure to take notes on what changes were made to that scene. I will also plan to rehearse that scene with my scene partner because I think it can only be effective if we rehearse it a lot of times.

We also added some more movement to the chicken and butcher scene, scene 16,

I must practice this more

we also did some runs of other scenes. I unfortunately may have missed one of my lines in my monologue, I can't remember if I said it or not, but to make up for that, I will continue to practice my lines to make sure that won't happen on the day

• Benjamin Bloom, an American psychiatrist, created Bloom's taxonomy, a model designed to ensure that people understand a subject.

• The six levels of thinking are Remembering, Understanding, Applying, Analysing, Evaluating, and Creating. Remember means you remember the information you have taken in, understanding is being able to summarise the information in your own words, apply means being able to use the information in other contexts and situations, analyse is to look deepr and have your own research on a topic, evaluating is being able to create your own judgemnt on a topic. And create is to have a great enough understanding of the topic to be able to create something new surrounding it

2)

• Remembering: what are my lines? Understanding: What do my lines mean? Applying: how do my lines fit the scene? Analysing: what do my lines mean? Evaluating: how does my character feel? Creating: What would this character be like outside of the play?

• It is incredibly useful to take a deeper look at a script or a character, you can only unlock your full potential if you are thinking deeply about who you are playing and their reasons, asking yourself questions related to blooms taxonomy is a very good way to do this a seach question challenges your understanding and guids you to ensureing that you can become a better performer. 

3)

• Bloom's taxonomy helps you reflect more effectively because it is more specific, and you can evaluate yourself more deeply as each step represents all the components needed to have a full understanding and capability of a topic.

https://youtu.be/NjOa6l4GFJA?si=I8TQU4lnVFZn2n1g

To make props and costumes, I need quite a lot of supplies. I was able to use the supplies that I bought for most of it, but some things I needed help getting. I made a list on eBay, but I then came across the problem that it would cost to much money, so i traveled around the college and asked several people to help me find the supplies i needed, unfortunately most of it was not perfectly ideal, but so far i have been able to work with what i have, the props are not of the exact quality i would like them to be but with the supplies iv gotten a hold of and the time i have i think so far its coming together fine.

A lot of the fabrics I found were scraps and not big enough for me to use, and I unfortunately have to use colours that I don't prefer and don't align with my vision. But I will try my best with what I have.

Dreaming Breaks Science...

For the chicken costume my end result came out pretty similar, the differences being that I decided to add fabric wigs and no feathers on the arms, I also made socks myself.

Next, we did the morning routine of our characters 5 times. This was useful to get into the mindset of our characters and feel like we've been in that mindset for a while, because I felt like I was that character after the first few times. Since I knew off by heart what to do, how to do it, and when to do it, it felt like I was living my character's life for that moment, doing something small, monotonous, and private.

This is an important skill to learn and to keep in mind for the future, as it will really help you get into the mind and body of your character.

I worked with facial expressions and tone, as well as breath control and timing for my scenes. In this photo, it is my duologue, and I think what I did best was my projection.

During these rehearsals, I began adding different gestures and movements to add to the scene

Monika from Doki Doki Literature Club is a very meta character who has a lot of similarities to the chicken. In the game she is a girl who runs a literature club but secretly she is actually self aware, where as all the other characters aren't, throughout the game she breaks the forth wall and talks to the player, she messed with the code of the game, me and changes what happens and the game turns into a horror game by the end, this reminds me of the chicken character because they are both inoccent and sweet characters who are self aware and they know they are in a reality that dosen't exist, they both break the forth wall and have moments of hysteria. The differences being that Monika is trapped in a video game where whereas the chicken is in a dream, the chicken wants to leave the dream where whereas Monika doesn't desire to leave the game and instead wants the player to be part of the game. Monika ends up being a villain where whereas the chicken stays kind and friendly throughout the dream, but you could also say that the chicken becomes a little more isolated and standoffish by the end.

Another example of a character is Kineto pet from the game Kineto pet, this character is also a character who is aware they are in a game and also tries to bring the player into the game for eternity, the similarities between these two are that Kineto pet is also a talking animal (an axylotle). But the differences are kinetic pet turns evil.

Some other examples:

deadpool

The narrator from the Stanley Parable

bojack hourseman

I think it's important to analyse and compare my character to different characters because I find it helps me understand my characters deeper by comparing it to others iv seen in the past, it also helps me create a back story and ideas about my character because I have an understanding of similar characters and I can use that as a reference.

Specific: improve my ability to express more sad emotions in acting, in a. more sirious way

Measurable: practicing in my own time will help this

Achievement: take time out to record my voice to hear what it sounds like

relevant: This is important becuase if i play a role of a sad person i need to have that emotion and do it in a serious way

Time-bound: by the next time i have a charcter that is more emotional i need to have this skill unlocked

Specific: improve physucal acting

measurable: pratcie a lot trying to act out in a more physical way

achievement: spend time infront of a mirror acting so ican anayse myself

relevant: this is very iportant becuase a good actor reacts physicals and with words

time-bound: i plan to do this before next years audition

Specific: improve imrpovisation skills

Measurable: practice this often so i can get good at it and use this skill all the time

Achievement: do games with the class to practice these skills

relevant: improvisation is one of the msot important skills in preforming arts

Time-bound: i should do this as soon as possible

He was a highly influential german playwright poet, and theatre director. he is concidered one of my most important dramtisrs un german library history. he is known best for his works experimental, political and often provocatuce nature. this i s said to refect the harsh reaitie sif loving under two discratorshios in east genramn.

he has made an influeicne in teh world of theatre in the modern ages hisp lays such as: Hamletmachine, Quartett and MEdea Material.

his work is still studied till this day and he is considereda major figure in the 20th centrury

she was a german dancer and choreographer who was signigicant in contributing to a Neo-expressionalist dance tradition called Tanztheater.

Philippine Bausch, later known as Pina, was born in Solingen, Germany, on 27 July 1940. Her parents were August and Anita Bausch, who owned a restaurant with guest rooms, where Pina was born. The restaurant provided Pina with a venue to start performing at a very young age. She would perform for all of the guests in the hotel and occasionally go into their rooms and dance while they were trying to read the newspaper. It was then that her parents saw her potential.

Bausch was very soon performing with Tudor at the Metropolitan Opera Ballet Company, and with Paul Taylor at New American Ballet. When, in 1960, Taylor was invited to premiere a new work named Tablet in Spoleto, Italy, he took Bausch with him. In New York Bausch also performed with the Paul Sanasardo and Donya Feuer Dance Company and collaborated on two pieces with them in 1961.

https://en.wikipedia.org/wiki/Pina_Bausch

https://youtu.be/RrPcP7ZbbeQ?si=TAzq1WFpLRSH4WgV

he is 90 years old he is a founder of preformace studies. he is a tehatre director, author, editor of TDR and the Enctments book series, university professor, and professor of preforamce studies.

Schechner combines his work in performance theory with innovative approaches to the broad spectrum of performance including theatre, play, ritual, dance, music, popular entertainments, sports, politics, performance in everyday life, etc. in order to understand performative behavior not just as an object of study, but also as an active artistic-intellectual practice. 

https://tisch.nyu.edu/about/directory/performance-studies/3508301.html#:~:text=Richard%20Schechner%2C%20one%20of%20the,and%20Professor%20of%20Performance%20Studies.

he is best known for his pioneering work for the stage need company. he is known for his characterized by transparent, 'thoughtful' acting.

Theatre is all about collaboration,’ says Lauwers. His entire oeuvre is a quest for the creation of a comprehensive portrait of the person with whom he is currently collaborating. As a result, the character and the person who is bringing the character to life are equally important to Lauwers. He writes on the skin of the individual, whereby he tries to transcend the contemporary dogmas of diversity and identity. He places humanity at the centre of this. Failing, loving, struggling, and major and minor sorrows are always given a special place.

His work is described as post-dramatic, a term that he has redefined in recent years. The most important characteristics of his work are the transparent, ‘productive’ acting, the paradox between ‘acting’ and ‘performing’, ‘blank canvas’ thinking; and all of this supported by his ‘off-centre’ strategy.

https://www.needcompany.org/en/about/jan-lauwers

Forced Entertainment is a multi-award-winning, globally renowned, Sheffield-based ensemble which grows in creative collaboration with other artists, influencing the ecology and experience of theatre in England and beyond. The longstanding group, skilled staff and strong board, create and deliver high quality performance and participatory projects locally, nationally, internationally, and over digital platforms.

At the heart of Forced Entertainment is a group of six artists; Tim Etchells (Artistic Director), Robin Arthur, Richard Lowdon (Designer), Claire Marshall, Cathy Naden, Terry O’Connor collaborating to make original theatre and performances together since 1984.

Our vision is that our work creates a space which allows people of all backgrounds to rethink the world, their place and potential in it. Our mission is to explore the possibilities of playful, complex and provocative art, its power to ask questions, and to connect people.

We do these things through the original work of the artistic team and collaborators (from theatre shows to 24 hour live-streamed extravaganzas), inspiring participatory work with communities (especially Sheffield-based young people) and supporting the growth, creative work and organisational development of other artists.

Our interactions with colleagues, partners, audiences and participants are guided by our values which embrace generosity, rigour, and a commitment to collaboration. Our work is strengthened by our relationships with Associate Artist, Tyrone Huggins, and guest artists such as Seke Chimutengwende, Nicki Hobday and Jerry Killick.

https://www.forcedentertainment.com/about/

I am quite happy with how the performance went. I think it is a big step up from our last class performance in December. I believe everyone did a much better job, including myself. I believe our first showing of the performance went better than our second, but they were both pretty good. I am quite proud of myself for having a bigger role than usual, and I feel I executed it well. I am proud of my acting and how I played my character. 

I dont believe i made any mistakes in my performance, i think i executed it as well as my rehearsals and as good as i believed i could in the moment, though looking back at it now i think theres many things that could have been different and improved, i think the delivery of my last line wasnt very good but i felt that that line didnt fit the atmosphere and so i struggled to find a good way of delivering it, i also believe my delivery could have been faster for some parts, but overall i am proud of what i managed to do. I also believe there were some noticeable mistakes made by other people in the performance, but they weren't in my scenes, so I thankfully didn't have to worry about it that much.

The play that we did, ‘Circle Dreams Around: (the terrible, terrible past)’ is a post dramatic theatre peice and therefore its nonlinear structure makes it hard to follow, and i heard a lot of audience members state that they didnt know what was happening and it didnt make sense to them, though they did like it, and so i believe we did captivate the audience but i also believe they were not able to follow what was happening. Even after studying the play and performing it, there are still things that are only now clicking into place. I think my performance captivated the audience, as I heard people say that I was their favorite character. I also believe that the play being so random helps it be interesting. 

I believe I did a pretty good job of conveying the feelings, intentions, motivations, and emotions of my character in my performance. My character was quite a reserved character and so didnt show much emotion most the time, but on the other hand there was a lot of change in my character, going from sad, confused, cheerful, embarrassed, grieving and then desperate which meant there was a lot of emotions i had to show but in a reserved way which was a bit of a struggle. I had to analyse every word and the delivery I would use for it while keeping the slightly ironic and lighthearted tone that the play and lines call for. 

My main scene was a monologue, but my other two scenes were duologues. I believe that I could improve my interactions with other characters. I struggle to remember other people's lines, and so I think too much about when I'll say my lines, and that distracts me from focusing on my acting and reactions. In the future will try to combat this by learning their cues as well as mine. I will also practice one-on-one with my scene partners, so I can learn their way of acting and brainstorm ways together on how to effectively act in a scene. I do feel content with the way I acted in those scenes, and I don't think the quality went down very much in comparison to my monologue scene, but there are still improvements to be made. 

I think one of my strongest abilities in acting is acting confident on stage. I think I am consistently good at acting confident and not coming across as nervous, even though I'm very nervous. 

In the funeral scene, I was turning my head to look at the people who were talking, but I didn't notice that when doing this, my face was out of view for almost the whole scene. Despite that, I think I engaged with the audience quite well, looking at the audience at moments, even looking certain people in the eyes as I say a line breaking forth the wall. 

I think my main strengths are keeping my confidence, projection, and I think my delivery is quite effective most of the time, but some things that I need to work on are the way I show emotions through my acting, as well as what to do with my body and mannerisms while on stage or with other actors.