11:15am-1pm School welcome and introductions, AG03

2pm-3pm Space orientation starting, D101

3pm-4pm Group networking channels, D101

4pm-5pm Library induction, Library

Today, being our first day, UAL introduced us to everything in which we would need to know. We met all of the tutors for the first time (Steven, Anka, James, Mira and Phoebe), and got their emails. I also got to meet everyone, in which I will be spending the next couple years of the course with!

They explained to us how we would be preparing for a live performance on Tuesday 29th October, and a critical analysis on Friday 22nd November. We were also told that we must trust the process of the course, and that everything will be ever changing. Performing arts is the only arts in which involves emotions and relaxation. We were also to, that our main platform of research will be Padlet. We will set up our work into 4 sections, which will be, 1, lab sessions, 2, training sessions, 3, collaborative sprints, and 4, reading notes and reflection.

We were also told that for unit 2, we will have to prepare, by reading and auditioning for seagull and BU21. To find these scripts, we can look on dramaonline.com, and log in with our university login. Then, we were split into groups, and were told to get on with a scavenger game!

11am-1pm Lecture/Seminar, D101

Today, we were introduced to the technical crew in the main theatre, who were very friendly. Even though it was only for 45 minutes, it was great to meet some of the production team, in which we will be getting to know very well and helping each other out a lot!

Today was our first movement training class, which I have been looking forward to since arriving! It means a huge amount to me as an actor, both spiritually and physically.

Today, one of the first questions in which we were asked was, what do you think will help you succeed? To me, this question felt very unlimited and endless, therefore, many answers were being fired, such as…

• Communication

• Act of listening

• Risk taking

• Trusting the process

• Creating a safe space

• Zero judgement

• Professionalism

• Taking/sharing as much knowledge as possible

• Being curious

• Community

• Respecting each others bodies and feelings

• Being grounded

• Teamwork

• Take a break if things get too difficult

• Authentisity

• Keeping patience with ourselves and each other

• Experimentation and resourcefulness

We were also reminded to arrive to all classes, with a clear purpose! To me, this includes…

• Focus

• Circle of attention

• Turning fiction into facts

• Real ‘I’, dramatic ’I’

• Space of trust

• Boundaries

• Find your inner child

• Non-judgmental to others

• Action-reaction

Next, we prepared as a group, for some improvisation, by warming up. We did a few vocal exercises, by humming in different volumes and tones, and diaphragmatic breathing. By practicing this continuously, it will help to improve my control of speed, volume, tone, range and delivery for future performances with different characters. We also did some full body spinal roles, and body stretches, which reminded me of when I used to take yoga classes! It helped for me to feel more relaxed, and in the present moment, both physically and mentally. Because I have been reminded of when I used to take yoga classes, I have decided to start taking them again once a week, and see how it shall benefit me.

After warming up together, our next group task was based off of improvisation. I felt very excited about this, as improvisation is one of my favourite skills to apply in the world of acting, but also one I find the trickiest! We had to pair up with someone, and apply the character of a 5 year old, finding a friend on a beach. I was paired up with Jake, and we were told to show the audience, that we were on a beach in California, and that this was the first time, in which we were meeting, after experiencing a fall out. It wasn’t too difficult for me to get into the character of a 5 year old, as my best friends has 2 children under the age of 6 years old, which I visit every 2 weeks. Also, I suffer from several neurodivergent disorders, which apply me in a childlike mindset every so often, when I have hyperactive outbursts, and I always believe that it is important to use your disadvantages, as advantages… no mater what cards you have been dealt in life.

For the beginning of our improvisation performance to the class, both me and Jake started off at opposite sides of an end-on studio stage, building imaginary sand castles on the floor, with our legs spread out. I decided to continue to move my head from shoulder to shoulder dramatically, with my tongue sticking out and an ice cream in one hand, until I had caught eye of my friend. Once I had, both me and Jake chose to create tension between each other’s characters, by looking to-and-from our sand castles. Slowly, we shimmied towards each other, and I walked over to him, to offer him my ice cream as an apology (with a very big and sad facial expression!). Jake’s character stood up and gave me a massive hug, and we both started jumping in a circle while hugging. After, we tried to express how much we had both missed each other, by playing a game of tag. Finally, I did a rolly-polly on the floor, and Jake sat on my side, which the audience found hilarious.

Even though I know that we were told to respect each others boundaries, I do feel as though we both may have gotten a little bit carried away, with the hugging and Jake sitting on me! Although I was okay with this, I will make sure to keep aware of this, for other performers. Also, during feedback, I was told that I should next time try to make it more obvious to the audience that the ice cream in my hand was melting. I definitely agree, and I believe that I need to work on lowering my nerves, as it has been so long that I have performed in front of anyone, let alone an audience! I will also try to decrease my anxiety, through the yoga classes, in which I am wanting to attend.

Towards the end of the lab sessions, we were told how we can remember to use today, for many different purposes and training. For example, exercising for the child of the character, in which we are performing, and think about how we would express them if they had been through trauma and were a killer? What would be the reasons for their present, abusive actions, if their childhood was cruel, unfair, loveless and full of pain?

I will also remember, that there is a big difference between being childish, and finding your inner child. All it takes is a moment, to close your eyes, and take yourself back to a memory of your past, which will help you connect to the character you are trying to put your feet into the shoes of. One last thing that I must practice, is opening and closing an invisible door, with keys. There is a huge amount of difference added to a character, through micro gestures, to an audience… not everything has to be super expressive!

Today, we were introduced to the technical crew, and they explained to us that they would be showing us how to write lighting and sound ques, and will be showing us different types of lighting, lighting systems, and sound systems. They also explain that if we wish, we may spend as much time with the tech team as we wish, and the more we can, the more beneficial it will be to all of us!

Next, we were split into different groups, and they showed us how to prepare technical q-sheets for them, and were given a resources Q-sheet template. Then, we were split into different groups, and were given a task to watch the first scene from Bojack Horseman, on YouTube, and write down the Q’s. This is very important, so that the production team know exactly what and when they are doing things for out show.

After, the class was divided into two groups, and my group were first shown how different types of lighting, and lighting systems work. We were also give two different information sheets, to remember exactly how each one works.

Next, my group were shown how to use an app called Qlab for live gigs/performances for sound. We were also made aware that to be able to use this app during our time at university, we would need a license. For every new workspace/show, you need to put ques and save it by dragging the sides of the app. If you go to settings and de-select auto-number ques, you can choose your own ques.

Also, when it comes to live shows/performances, a wired system is always better than Bluetooth as it is a lot more reliable. Unfortunately, Qlab can’t play sound off of Spotify, therefore you must use it off of YouTube through .WAV and it must be downloaded, which you can do on a Wimbledon device. To do this, on the YouTube video, you must press share, then copy link to 1/2 mate. Here, you can download the video/audio, drag track to Qlab, press SK to come out, and go to levels to lower master fader. If you go to time and loops, you can edit the sounds, and if you want to fade/transition sounds, you need to click on the symbol that looks like an N. If a red X appears, then the app is trying to alert you that something if wrong.

Today, to start of the day, we all gathered in a group circle and did a warmup. Our first task this morning was to, in pairs, come up with our own improve act, only using the words “what happened?”, and “nothing”. This allowed us to experiment not talking, and instead, perform through expression, feeling and state. I also wrote down my observations about the different pairs that performed, so that I would be prepared.

As an actor, it’s important that tension is being created through expressing difficulty to look at one another and the characters stillness. Also, having a good use of space and micro expressions (for example, a blank stare), and exploring non-physical tension. Blocking is very important, especially for showing different characters. To make sure you are doing this correctly, you can ask someone to watch/record before performing, to make sure you are getting the correct message across to the audience.

I thought this exercise was effective, as it allowed us as actors to think outside the box of the script. When you allow yourself to get attached to the script, you can stiffen up and forget about the little movements of the body, in which creates your character. For example…

• Use of breath to show suspense

• Use of intense gaze to show upset

• Showing sense of smell to show they’re ill

• No signal on phone to show they’re deserted environment

• Showing an umbrella to show it’s raining

• E.c.t

To start of our movement training session, we warmed up by placing a tennis ball underneath our feet and rolling it back and forth and then swapping feet. Next, we did a few spinal rolls, paired up and did some spinal rolls sitting down. Then, we were given a bean bag, and were asked to place it on the top of our heads, and walk around without allowing it to fall off. Next, we closed out eyes and listened to skyscraper poem and were asked, how does this make you feel taller? After, we paired up and asked each other for consent of touch, then turned around, closed our eyes and took turns to trail our fingers down their spine. This allowed us to open the door to trust, and have a full spiritual connection to our partners auras.

After a short break, we were told that we would be exploring methods of Grotowski. We started by walking in a square, and diagonally across the square, very directly. Next, we were told to go from high to low heights, and add any characters that you feel come to you. Then, we were told to go into 4 different groups in each of the corners of the room, and walk across the room as different characters. Next, we had to do it with the person opposite us and share direct eye contact.

Then, we all grabbed a chair and were told to experiment creating a character, by only showing the audience our back and expressing emotions/character through our spine. After doing this, in 2 groups, we shared our experimenting to each other together. I decided to create a character who was waiting for a very important phone call. To show this, I added different heights, head movements, leg movements and twists.

I found this session effective, as it allowed me to understand Grotowski’s methods, practice expressing different characters and display a story to the audience, without sound, eye contact or facial expressions.

Today, we were told that we would be focusing on body, space and objects. We were also told that Dick Mccaw’s book ‘training the actor’s body’, from 2017 and ‘sixth sense’ would be very beneficial to read. We first started on our sense of space and were asked what we can feel and see around us. Then we were told that we have to have more focus and sense the people around us.

Next, we were told how objects can have presence in a room, and were asked what we know about a chair in the room, and to examine its materials. While examining, I wrote that the chair has/is…

• All black, except silver screws

• Grip on top

• Outward grid

• Metal plate

• White stickers

• Silver screws underneath

• 4 grips on the bottom

• 4 corners, yet smooth

• Heavy

• Fold and expand

• Make loud noises

• Dirty/dusty

• Stiff and solid

Next, in separate groups, we were given the task of taking 2 chairs and creating an effective image. I explained that we should place one folded chair, against an unfolded chair, as in expresses an image of needed support. The folded chair can’t stand up without the other, just like us as humans need support when we are upset, to find the light, stand on our feet, and overcome issues. Then, we were told to pick an object and explore its objective/given circumstances on how to treat it, and act it out at home.

Towards the end of the session, we were told that you do have to have something to create something, and you can create a performance from anything.

Today, we started of with a group warmup, and practiced our spinal rolls. We were told about the purpose of being there/presence, facial expressions, and how important acting tools are. For example, looking back on your Padlet journal, breathing techniques, and spinal rolls. Also, how energy is important to apply/different and changing for different characters, and you should think about weather it is going to be less or more, as your energy is not going to be the same in front of an audience than it is during rehearsal. It’s important being able to disconnect and connect back to your third eye after a performance.

When acting everyday, without a narrative, as humans we change depending on who we’re around. There’s not one way of being an actor, as our presence changes constantly. Presence is about knowing where you are, and where you’re going, to help the unnatural look necessary. We were also told to think about how exercise matters to humans, and to think about how it makes you feel. It’s important as an actor, to focus on how your body works when exercising, and think about how it helps you connect with your body.

As a group, we all closed our eyes and thought about how would you feel if you were moving certain body parts for the first time, and how would they move? If you’re becoming a certain character (for the first time), how would you awake the body? Next, we imagined slowly filling up with light/energy from a blank canvas, and started thinking about what we need to move to awaken, as if we were waking up from a coma/seizure/stroke, and try to match things without knowing. Think about what it takes to breathe and the aspects of relaxation.

After, we each displayed an exercise to the class, where our character is in a deserted desert, knackered, and on the brink of death. It’s important to remember to have nice breath work (heavy to help make the physical movements stronger and put you more in the environment), impactful micro movements, and display heat and textures, as they’re equally important.

The next exercise displayed, was our character walking a dog in the park. It’s important to show throwing a ball, the dog pulling on the lead, observing things in the park, sitting on the bench, the size of the dog, level and treatment. You should also think about thinks like, how does the bench effect your spine? Is it cold? Is it wet? What’s on the floor? How is the weather?

Today’s session was effective, as it helped me to relax, find and change my inner energy, that I need as an actor, to become someone else. It’s important to question things, while exercising, as it helps to put you more into that environment, as that character, and if you can believe it in your heart, the audience most definitely will.

Today, we were reminded to not forget about risk assessments, and how things may be obvious, but until you start planning, you may not realise the dangers of certain set/lighting e.c.t. For example, what is the rate of risk that it could fall, and how badly would the injury be? Make sure that you re-assess if it’s in the red, and figure out how you can lower the risk. Rehearsal is key, especially when doing something dangerous, like fight scenes and heights. For example, stairs always have to have hand rails, and set must be made to stand on. Take for instance, a chair is for sitting on, therefore it must be made, so that the actor doesn’t fall through and injure themselves.

Also, things like props must be fake, as it being real could risk someone slipping, having an allergic reaction, or causing a fire. You must always do a patch test and rehearse for the safety of yourself and others. If you’re making a mess, you must clean it up, which you can either do at the end, or make part of the scene. If you need set that’s heavy (like a piano), always try and make it out of something soft, like cardboard. Everything must be done with appropriate equipment and done properly. Make sure everything is well rigged, rehearsed and timed (for example, a fake fall).

When it comes to heat, everything must be a fake fire, half fire, flame proof, and all cigarettes should be fake. Always say what you might do, to eliminate the element of surprise, and don’t forget that you still have to use risk assessments for microphones, and do it for everything you are using, as the first thing the inspectors will ask you for is “where is your risk assessment”.

For your risk assessment, you will need to check…

• Trip falls

• Fire

• Performing at heights

• Weapons

• Throwing of any liquids, confetti, powder, e.c.t

• Drinking or eating/giving to the audience

• Scenes of fighting (trigger warnings and content warnings, if containing police brutality, sexual assault or rasisum)

• Flashing lights

• Loud sounds

• Nudity/Partial nudity

You can find a risk assessments sheet to fill in on moodle, just as you with a q-sheet, and if you get lost, talk to production, as this is all very useful when it comes to tech. The cues that are part of production are sound, visual and script, so in your notes, put a description of the cues. Always do pre-shows to practice cues, and remember to print your script single sided, and per one cue sheet, add the script page number.

After talking to the production team, we went on to talk about preparing a non-verbal solo piece based on theatre, that must be 2-3 minutes long, and based on theatre theme of ‘waiting’. We must use this to inform our characters behaviour, and emotional journey during the wait. I drew a mind map to help get some ideas running.

I decided to run with the idea of my character being an actor, who is waiting to go on stage last minute. She’s freaking out, her hands are shaking, breath work is heavy, she’s going over her lines, and she keeps looking at her watch. She goes to drink some water to calm down, and looks in the mirror to see if her costume and makeup is done properly. She hears that she needs to walk to the wings, through her headset, and waits a little longer in the wings. Eventually, she goes on stage and freezes, which causes her to run off in panic, and start crying.

This session was effective, as I was reminded on all the way to keep safe as an actor while on stage, and that sometimes it’s good to slow down when performing, to create a powerful message to the audience.

3pm-5pm Technical rehearsal, B113

We started today with 3 minute warmup, which was timed and we were advised to slow down, and breathe to calm down, and stop laughing, and avoid embarrassment. Next, we watch a 5 minute show (sub group L), which was about a big boss, who I felt wasn’t angry enough and had a mixed personality, which made it very confusing as to what emotions/story his character was trying to express to the audience.

Next, we enjoyed some chair fall, and I felt that the girl’s expression was very plain. On the other hand, I loved it when Jake fell off of his chair, and I asked him to next time carry the chair with him, with 1 foot to make it more effective. I also loved it when Alie and Victoria laughed, and Leo stopped them.

1pm-3pm Assessment presentations (watching), B113

3pm-5pm Assessment presentations (watching), B113

Due to my recent absence, I will not be performing today like everyone else, but instead, in a few weeks with other students that have been in a similar situation.

Today started off by debriefing unit 1, and discussing our work on collaboration. One question in which we were asked to reflect on was what do we feel has changed, since we met 4 weeks ago. After looking at my self-taking notes, I can see that I am a bit of a natural leader, and I need to relax and be more inclusive, because other’s opinions are very important to me. I can definitely notice my directors energy! I also asked for some feedback from Jake, for the individual 3 minute piece, in which we had to perform.

I have learnt to always keep an open mind, and that I should try to film more to see what mistakes are being made, and how me/my group can improve them. Also, struggling with attendance, unfortunately lets the whole group down, and the group must keep practicing to help improve, and the whole group’s opinions matter! Visual cues are critical and how life meets fiction. The audience are partners in a performers act, and their reactions always impact your performance, and you must feed off of the energy of your audience. I must never stop realising the simplicity of words, and keep my eyes open, so that I can keep learning off of my peers. Also, keep an understanding of the power, in which you hold in the space.

Once finished debriefing, we continued to start briefing on unit 2. We must prepare by auditioning for 2 different characters, from 2 different scripts, BU21 and The seagull. We must prepare 6 lines for the audition, 3 per character.

Because of my absence, I had a meeting with Anka after about how I will complete the rest of unit 1. We discussed that I would be meeting up with a group of 4 others that have also been absent (Zayyee, Ona, Alya and Laya). We will be meeting once a week on Wednesday, after class for a month, to prepare a 5 minute performance. Our time will be self-led, and our performance will be the same theme/task as everyone else performed yesterday. We will perform on the 22nd of November, and a week after on the 27th, we shall present our Padlet and essay.

As a first year acting student, in 3 years I see myself as an educated graduate, auditioning for movie roles and modelling in adverts. My dreams, passions, and ambitions in acting and beyond would be, being able to act, direct and script write about unheard messages around the world, to help spread positive awareness. The roles/projects that I would love to be involved in are definitely movies, and possibly to series in the genre of comedy, drama and fantasy. Collaboration to me is one of the important parts of any performance, even if it’s a solo! I always say that acting is like a sports game, you always need a full team to play. Everyone must be on the same page and know exactly what, and when everything is happening.

After completing our performance plot, we decided to choreograph our warm up. To keep as much collaboration and communication towards the audience and each other, we made sure that each group member had an opportunity to lead the warm up. It’s important that we all remember to keep a strong eye contact, not only with each other, but also the audience.

An interesting exercise approached during unit 1, that focused on presence-building techniques, was when we each had to display being in very different environments to an audience, such as being stuck in a desert, walking a dog in the park, or being a child on the beach. This gave us a very clear purpose when arriving into the space, which is a key principle to stage presence. Our task was to adapt our characters to the different spaces, while using no words and fully focusing on things such as, our breath work, full body awareness and our connection to the audience, through the space around us. This exercise really helped me find the relation between the real I, and the dramatic I, and also relates to McCaws mention of “we can think ourselves anywhere in the world, but the brain and body, in which that thought takes place, is always somewhere specific: we all take up space”, in ‘Training the actors body: a guide’, 2017. Another exercise, which allowed me to awaken my spacial awareness of others, is when we would walk around the space as a group, displaying different tempos, heights and expressions, by attempting to fill empty spaces. This exercise allowed me to display a ‘soft focus’ of knowing where I was and where I was going, and to prepare a ‘readiness to move into a space’, which is also expressed by McCaw.

Even though my group didn’t have a particularly large audience, I am still very happy with the reaction we received, and I am very proud of my group for getting everything prepared for, in the time we were given. During our warmup at the beginning, we made sure that each group member lead at a certain point, to keep engagement/connection with the audience at all possible times, physically and verbally. Throughout the performance, to make sure that the audience remained this way, I applied different tempos to my walk, used direct eye contact with the audience while holding a sign, and not only constantly trying to fill the spaces, but also stopping every now and then to create a purpose to the space surrounding me. I would really like to improve on my development of levels applied to my characters, on and off stage. It was noted that a lot of thought had gone into the little details and the characters were very clear, which I am very proud of due to the story being quite complicated.

Stage presence has really opened my eyes image, of giving a story to the audience without using words, if not any! Also, space around you can be used, very effectively, through using stillness. Sustaining energy is one of the most important things to an actor, to be able to become a different character. If you do not have the correct energy, you will also be unable to hold the engagement of your audience (which is vital!). Anyone can tell a story, but without the right skills, you can’t fully take your audience to another place.