Performer would be alone in a vast space - very dim lighting for visual. Maybe none if we wanted to focus on the voice. One by one, performers and audience members would walk up in their own time creating a circle around me, creating a confined space. One or two performers will pull up a chair and perform the monologue in their own time and way. The audience will obtain a different understanding as each performer performs the monologue and will interpret each performance differently.

The people that have had the most influences on me have used political and social events in order to create their work. Studying both drama and dance in gcse, I have always remembers these pieces the most as they have had something to express.

Christopher Bruce.

Alvin Ailey. We had to study him in depth for year 13 as we had a whole essay to write in an exam on just him. His dance Revelations is based on his time growing up in Texas, where him and his mother experienced a lot of racism. Mother was raped by white men and he created this dance to show his life and to illustrate what a lot of African-Americans went through.

I also studied Martha Graham for gcse and some might have heard of her as her technique was used by a lot of dancers and it still gets taught today as a main learning technique. Steps in the street (1936) was based on the Wall Street Crash in '39, the depression that followed and also the Spanish Civil war. It focused on depression and isolation - this is through the use of a blank dark space and the black dresses which make the dancers look pale and chiselled.

Coming to uni and taking Georges pop 1 class helped me understand what my interests were. Clearly physical theatre. He educated us with works from DV8 and frantic assembly.

DV8 for example, their work reflects Lloyd Newson's personal interests with social, political and psychological interests. Can we talk about this? deals with freedom of speech, censorship and islam.

'Wherever we go our shadow walks with us casting a silhouette of our physical body on adjacent surroundings.'

' The piece captures a series of pedestrian gestures, creating a collage of interweaving shades of light inspired by early stop-motion photography. Once the viewer steps into proximity of the installation, sensors trigger a fluid, cinematic encounter with Doppelganger. Human presence activates an ethereal bridge merging the viewer’s casted shadow with the projected light.'

Park - Dance based around the sea-saw, the swing the roundabout etc

Copying walking exercise - Whitehouse notes that we are unaware of how we move in life. Fiona made us get into pairs and copy how the other one walks. Straight away people we noticing that I was copying Edie's walk as we notice everyone else's except our own. Edie had been told before that she moves her hips a lot but was not aware of this physically. I was also aware that I apparently 'strut' when I walk but I can never physically notice, only notice when I concentrate on my walk. From this exercise, I do often think about my physical body when walking in public. 

Technical term for feeling one's body move: Kinaesthetic Sense.

"The less the body is experienced, the more it becomes an appearance; the less reality it has the more it must be undressed or dressed up; the less it is one's own known body, the further away it moves from anything to do with one's self" (Whitehouse, 1995: 245)

From moving and using this sense, people can understand the ways in which their bodies move and what their body is capable of doing. One women in her class notes that her arms can do more than her legs. What little they could do, helpless - she describes her legs. Another women felt as though her middle part of her body was missing, sense of balance and awkwardness instead of her middle.

Similar to this Fiona got us to walk around the room and lead with different parts of our bodies when having to change direction. One of us would shout out a body part and we would have to swing with this body part in order to walk into a different part of the space. Weird to see what came natural to me (knees, feet, arms, hips - dance a level) but some things were not as comfortable.

Similar to what we've have been doing in class, with the images around us, memories and events - Barba determines a subscore for the actor's improvisation which consists of a narrative of the aforementioned stimuli. (Watson, 2013: 401)

Barba brings together the improvised sequences making them into a group performance. Similarly to what I want to create in our end performance.