This image shows, the stage format we will be working with. By using chairs, we were able to visualise where audience members will be. 

character

In this rehearsal, we continued to add absurd gestures to our characters. 

 

Today, we also produced a full run. I believe this run was poor due to the lack of energy. 

 

Challenges: 

Throughout this rehearsal, I faced an individual challenge to understand my character (insecurity guards) physically and voice. This was challenging, as I believe there's something missing for my character, as I don’t feel like my character. Instead, I feel like I'm playing an over exaggerated vision of myself. To resolve this, I should experiment with snapping personalities for my character. This would represent personalities instead of 2. This would also be comical to the audience, as my character would act like nothing happened immediately afterwards. I also faced the challenge of making Biffer’s actions seem too literal. This was a struggle, as I couldn’t think of anything I could relate to the translations, making it seem obvious. To resolve this, I remind myself that my movement doesn't need to make sense, nor do they need to relate the translations given to the audience. 

 

Research: 

 

Today, I was able to apply my research on brechtian epic theatre. This helped me understand that I must stay in character whilst in the voms, even if i’m not onstage yet. 

 

 

My contribution: 

 

Today, I contubied by encouraging actors not to be afraid to look stupid onstage. I did this, as many actors would limit themselves due to embarrassment. I also suggested some ideas for some characters. An example of this is Britney using a gesture like a stomp to indicate she is talking to Biffer, rather than just her calling the character. This would also convey how she’s always mad and annoyed with Biffer due to clumsiness.  

 

 

Targets:

My research aim is to watch fleabag to better understand how I want to laugh as an insecurity guard. My target is to watch a House of Commons debate to better understand how the debate should happen in scene 7. During the next rehearsal, our aim is to do a full speed run of scene 7. This will help actors to pick up their cues. Another aim is to look into more extraction exercises. We must also consider using characters from commedia el dilata. 

 

Today, we did a speed run of scene 7. I recognised that my character (Biffer) needs a shaper reaction when colliding with other actors.  This rehearsal was beneficial to me, as I found something that suited my character Biffer. 

 

 

 

Challenges: 

 

A collective challenge was maintaining audience engagement, such as eye contact. This was a struggle, as we often collide with other actors. To resolve this, we became aware of our surroundings by being spatially aware. An individual challenge when performing Biffer’s speech was keeping audiences engaged. This was a struggle, as I focused my attention on Lisa rather than the audience. To solve this, I must use twists and turns, so that each audience member can see my character's actions. 

 

Research: 

 

In this rehearsal, we also participated in a commedia dell'arte workshop. Where we played various characters from this style of theatre. This was important, as it helped me recognised how I should perform my character. This was helpful, as I now understand that when performing the guards, I want to explore  il capitano for when I’m performing as an insecurity guard. This would represent that he tries to act brave and big despite the fact that he’s scared and small. Whereas, when performing Biffer, I want to explore Zannie. 

 

Targets:

 

Our main goal is to be more spatially aware throughout the piece. This would be helpful when reposting to ensure that all audiences can see us in a round stage. Another aim is to play with pauses more often to suggest a personality within our characters, such as a thinking moment. Use more research on commedia dell'arte into my characters.

 

 

Today, we started with a purposeful new warm-up that helped us create ideas throughout this rehearsal.  We were able to re-block some areas of scene 7 this is where we reconsidered audience sightlines and proxemics. As previously, some audience members were unable to see anything due to everything being towards one side. We were able to use elements of our play in our warm-ups. We did this by using the Dissocia anthem for vocal exercises. This helped us stay focused and use our time effectively. 

 

Challenges: 

 

A main struggle we faced was dominating voices. This was a challenge, as we weren't ideas weren’t listed to, this meant ideas were often rejected without experimentation. To resolve this, I constantly remained actors to allow experimentation to take place before discussing if the ideas don't work. Another collective struggle faced was picking up cues. This was a struggle to work with, as it made the play slow and monotone. To solve this, we practiced with keeping energy levels high many times, despite this being improved, this still needs some development. 

 

 

Research: 

 

I was able to use my research on creating comedy on stage to help create further comical moments to the guards scene. I did this by adding a gesture to the guards telling Lisa that ‘pants can easily be used to strangle pilots’. This is where we recreated a plane, by physicality becoming one. This links to Emma Rice's technique of making theatre for all ages. As we were able to imitate children's like behavior. By using a sound of a crash with our mouth , we were able to foreshadow the use of bombs being used in scene 6. 

 

My contribution: 

 

Today, I contributed by reminding actors to allow experimentation. I also remind people to stay open-minded when accepting new ideas.

Targets:

 

My aim is to ensure I maintain voice modulation.  Another goal is to prioritise emphasis on lines. This would help myself and audience better understand what my character is trying to say. Our collective aim for the next rehearsal is to produce a full run with all feedback considered. 

 

 

What did we do? 

 

Today, we interviewed each other in character. This helped us better understand how each of our characters interact with each other. We then did a full run , where we were able to make shaper slapstick comedy when performing the guards. This is due to there being little delays between cues that still need some minor improvements.  Taking stage consideration, we realised we need to use more space. Today, we started  with a great warm-up by practicing with words and phrases that we struggle with. We did this by walking around the space and greeting actors with our struggling lines. This warm-up helped me significantly in consistency using correct pronunciations.  

 

Challenges: 

 

One challenge we faced was timings. This was a struggle as the play look messy with delays. This is particularly clear in follow up gestures this is when a character dose a action after an line. An example is 'prepare for the charge’ Where each actor moves up and down stabbing with their absurd this suggests a preparation for battle. A collective struggle was being too narrow minded. This was a struggle as some actors weren't listening to ideas or suggestions. To resolve this, myself and many actors remined each other to resolve an issue through experimentation instead of discussing. 

 

 

Research: 

 

I used my research on comedic duos to help give faster and more comical reactions. This helped make the insecurity guard more dynamic and fun to watch. Today, I also used my research on commedia dell'arte. I did this by transforming my character Biffer in to Zanni. This helped me find my posture and gait that best suited this character. By using my research on absurdist theatre I was to use randomness as a way of delivering Biffer’s speech. By considering my research on theatre in the round I was able to encourage actors to reconsider blocking for scene 7 as blocking was too centered to one side. This was effective as we restaged ensuring no audience members were blocked. 

 

My contribution: 

 

Today, I gave tips to actors to help them consider character emotion. An example of this is telling the performer who played Britney to get angry with Biffer. I also assisted an actor realised and understand how to walk as a businessman as often he would walk like a robot. I reminded him to not be stiff and just relax his muscles. This helped loosen up and make his movements more natural. 

 

Targets:

 

A target is to clearly show an after affect when bombs hit. This can be shown by twitching, this would represent that each character is affected by the attack except from Lisa. .  Another goal is to use clear articulation to match my dramatic intention of showing a clear difference between my utopian and dystopian characters. This would be done through careful of for articulation. 

 

What did we do? 

 

Today, we were able to practice with our finished stage. This allowed us to acknowledge how much space we have to play around. When producing a full Run we were able to be become more comfortable with the stage space this meant are characters were more open. 

 

 

Challenges: 

 

A main challenge we faced was performing on a larger stage. This was challenging as we were used to having a smaller stage to play around with. To resolve this, we become more aware of spatial aware. This allowed all audience members to see something throughout. We also faced a challenge of making each gesture open to the audience . This is evidently shown in scene 3 where the guards say "would". As our added action was closed of and to close to voms 6. To solve this we lined up with opposite voms. This would enable all audience members to see what action was being used. By staying in line with a vom we were able to ensure didn't block audience members. Being in a new performance space, we were encountered with another challenge of sound reverbing around the space. This caused voices to often be lost as in pervious projects sounds would bounce off the seats however in this space there is no seats. To improve this we must become more aware of diction. 

 

Research: 

 

Today, I used my research of stage confederation in search of finding was to immerse all audiences in our performance. This was done through me and my scene panther being near opposite vom of the stage. This helped make sure other audiences didn't feel isolated from the piece. By using my research on Kneehigh I was able to portray my characters larger than life. Making them full of energy. This was done through my commitment to both my characters posture and gait but also through my character voice modulation to suggest a clear change of roles. 

 

 

My contribution: 

 

I was able to contribute by encouraging actors to becoming spatially aware. I also suggested the idea of using more space such as the guards using opposite voms. When trying to figure out when we should start transitioning in to Lost Property . I suggested that we start to move set before Vince says Lisa "are you listening to me". This would make sense as it will give a reason to why Lisa has stopped listening to Vince. 

 

 

Targets:

 

A target for moving forward is to ensure we have conscient diction and projection. This would help avoid the sound being lost in the large rehearsal space. Another goal is to consider audience entrances. 

 

What did we do? 

 

Today, we were able to practice with a completed stage. This allowed s to arknowdge how much space we have to play around. focused on problem areas. When producing a full Run we were able to be become comfortable with the space this meant are characters were more open. 

 

 

Challenges: 

 

A challenge we faced was performing in a larger space. This was challenging as we went use to have a large stage to play around with.To resolve this, by becoming aware of spacial awearness. This all audince members see something happing onstave throughout. We also faced a challenge of making each geture open to the audice. This is shown in scene 3 where the guards say would. This action created duing the last rehesal was closed of and pplaced to far near vom 6. To slove this we could do this action in opposite voms. This would enable all audince memebrs to see what action was being implemented. By alining ourselves in a vom we were able to ensure didnt block audience members. Being in a new performance space, we were encountered with another challenege of sound reverrbing around the space. This caused voices to often be lost as in pervious projects sounds would bounce off the seats however in this space there is no seats. To improve this we must become more aware of diction. 

 

Research: 

 

Today, I used my research of stage confidertion in search of finding was to enure all audinces feel immersed in our performace. This was done through me and my scene pather being on opposite sides of the stage this helped make sure other audinces didnt feel issloted from the play. By using my research on Kneehigh I was able to portray my characters larger than life. Making them full of energy and enphysm. This was done through my commint to both my chartchters posture and gait but also through my charachter voice modualion to suggest a clear change of charathter. 

 

 

My contribution: 

 

I was able to contubrue by enscoging actors to becoming spatially aware. I also suggeted the idea of using more space such as the guards using opposite voms. When trying to figure out when we were going to transition in to scene due to a Lisa being on the phone with Viece . After some thought, I suggested that we start to move set before Viece says Lisa are you listening to me. This would make sense as it will give a reason to why Lisa has stopped listening to Vience. 

 

 

Targets:

 

A target for moving forward is to ensure we have conscience diction and project to avoid the sound being lost in the large rehearsal space. Another goal is to consider audience enterences. 

 

What did we do? 

 

Today, we were able produce two full runs. This was effective as we were able to acknowledge what needing improving without any disruptions. In this rehearsal, we also performed in full costume. This was the first time wearing braces for a character. This meant I initially felt uncomfortable wearing them but as time progress I became used to wearing them. We also used Meta theater by we changing moments to closer towards the bed during the integration.

 

 

 

 

Challenges: 

 

A individual challenge I faced was showing a clear difference between my character being serious and my character acting confident.  I solved this reminding myself that absurdist theatre doesn't need reasoning for each action .Therefore, I needed to a find way of portraying a serious character during the integration , this would be done by me becoming more fierce. Another struggle was keeping audiences engaged during the integration scene. This was a struggle as we were used to using direct address to immerse audience, To solve this, I used emphasis on some banned items some banned items are non-existent. An example of this Donkey eggs this is absurd as donkey don't lay eggs. My individual struggle is to ensure I am consistently being heard by audiences. This was due to my voice often dropping off this meant the end of my sentences would be unclear. To solve this, I need to consistently emphasis ending of sentences. 

 

Research: 

 

By using my research on epic theatre, I was able to find a way of staying in character backstage. This was done through adding context to the guards arguing. This would then led in to my scene partner trying to ask if his vest is covering his arse.

 

 

 

Targets:

 

Our target is to consider how we will lighting in our performance. Another target is to become more comfortable with wearing costume.