What is the playwright's full name?

 Josh Azouz

Where was the playwright born and raised?

Josh Azouz was born in 1985 and raised in London.

What education background does the playwright have?

It doesn’t say what background Josh azouz has.

Are there any significant life events or experiences that influenced the playwright’s career?

He devised and directed the comedy sketch show come in. Sit down tricycle theatre, co-director with musical salman siddiqui) in 2015.  One this project, he, has said I’m in 20s I live in London, and I don’t have a Muslim friend. The problem is that if you don’t know people from other communities, you make assumptions.

Career and work

What is playwright best known for in the field of theatre?

Josh azouz best known for Gigi&dar

What themes or subject does the playwrights work often explored?

The theme of friendship & betrayal plus the question of how we repress harmful truths are universal.

Can you name some of the playwright’s most notable plays or productions?

Gigi & Dar (Arcola Theatre, nominated for Best New Play at the Offies) Kiss/Marry/Push Off Cliff (NT Connections) The Get (BBC Radio 3) Once Upon A Time In Nazi Occupied Tunisia (Almeida Theatre), The Mikvah Project (Orange Tree Theatre, Yard Theatre & BBC Radio 4), Buggy Baby (Yard Theatre),

Style and influences

How would you describe the playwright writing style?

I would say that he’s highlights bad situations and turns them into something good . He’s also spread awareness to other to make us have a better understanding and about friendship and other religions.

Impact and recognition

Has playwright received any awards or recognition

He’s had won an award.

How have the playwright plays been received by audiences and critics?

One person said I think the play strikes a good balance between being confrontational and accessible and I’d love all them.

Personal reflection.

Based on your research, what do you find most intriguing or inspiring about the playwright. What I found most interesting about the research is how much I learned about him and why I write some of his plays.

The script deals with many themes relevant to young people today including sexuality, attraction, drugs and alcohol in a non sensationalised way.  These issues are part of the world in which we all live and the compelling narrative was perfectly delivered.  It would be easy to come to always expect the excellent diction and projection offered by YTYT, who perform with no mics or sound enhancement.   However, it’s important to recognise that the group continue to demonstrate their skill in this area.   They also maintain character and build the dynamics of the different relationships whilst still ensuring the audience can hear every word.

 Mime and action to background music moved us from scene to scene and even with only the first introduction many of the character traits became clear.  We quickly understood that Marco (Robin Boughton) had done ‘something’ during the first night’s drink fuelled antics.  Boughton was suitably offended at being cast out from the group and ensured we understood the characters desperation.  Harriet Hornshaw was a commanding Ricky – determined to get their own way, whilst struggling with internal longings.  Emma Loynes as Kiara gave a sensitive and strong performance as the love interest of several members of the group and often the one with most clarity of thought.   I enjoyed the monologue given by Matthew Tordoff as Carl.  His description of camping at age nine was cleverly brought to life with just the right level of humour.

Alice Lamb as Jess (Cast – Cliff) had great comic timing and showed real compassion in the situation – their characters efforts to provide light relief (in the form of illegal drugs) went horribly wrong when it transpired that Jess had actually bought mint sweets.  This part of the play was handled very well by Lamb whose story-telling is captivating.  The worries of the burgeoning future and all that post exams would mean for the group were well-voiced by Alex Sentance as Tamer – the aspiring boxer who has a range of personal anxieties.  Sentence showed empathy in handling the challenges the character faces.  Not part of the core group is Noush played by Izzy Cowie in Cast Cliff – a very clever portrayal of this role, just as the interactions with Marco left the Marco wondering ‘what next?’, the audience too were unsure of the motives of Noush.

Creating a character profile

Basic Information:

Name: Tamar

Age: 15

Gender: female

Date of Birth: 07/10 /2010

Nationality or ethnicity: black and white Africa

·     

Physical Appearance:

Height: 1’75

Build (slender, athletic, etc.): athletic build

Hair color and style: dark brown

Eye color: hazel brown

Distinguishing physical features (tattoos, scars, etc.): no noticeable features.

·     

Background:

Place of Birth: south London

Family background (parents, siblings, etc.): lives with mother no siblings

Education: in secondary school

Early life experiences that have shaped the character: father passed away.

·      Personality Traits:

  Describe the character's personality in a few words (e.g., introverted, passionate, stubborn, etc.): very stubborn, doesn’t likes to be told what to do. Thinks she’s always right,

Strengths: good at making plans and resolving situations.

Weaknesses: hates being talked over.

Quirks or habits: walks around with her teddy her dad gave.

·     

Motivations and Goals:

o   What motivates this character within the context of the drama?

o   Short-term and long-term goals: long term goals is to be come a fashion designer and a huge company.

·     

Role in the Drama:

o   Protagonist, antagonist, supporting character, etc.

A protagonist is the character with whom the audience empathizes . The word “protagonist” comes from the Greek protagonistes, meaning the chefs actor is a character or group of characters who challenge a protagonist. An antagonist is often viewed as the enemy or villain of a story

o   How do they fit into the overall plot?

·    Marco fited into tmr overall plot as he was the leader of the group. Until Carl.

  Relationships:

Tamer Has a good relationship with the characters and friendships apart from the dog.

o   Friends, family, romantic interests, mentors, or rivals.

·     

Conflict and Drama-Specific Background:

Tarmar get irritated because her friends thought she had a crush on one of the boys in the group.

o   What central conflicts or dilemmas do they face within the drama's storyline?

o   Past events or secrets that influence their actions and decisions in the drama.

o   Relationship between the characters and Marco not wanting to listen to the group.

·     

Dialogue and Speech Patterns:

o   Describe their way of speaking, tone, and vocabulary. The characters speak in slang most of the time.

o   Do they have any unique speech patterns or catchphrases? Tamar character side eye.

·     

Costumes and Appearance Changes:

o   Describe how the character's appearance changes, if at all, during the drama. The characters appearance changes when they go to camp and change into different clothes and different setting.

o   Consider how this reflects their development. It reflects there development as the characters are in a place that they’re not usually been to so they have to get used to the environment.

·     

Backstory:

Tamers parents were married for 16 years when one day her dad has a heart attack at the diner table right in front of her and her mother. Which was just all of a sudden so the move houses and tamer moves to a new secondary. Which she means Jess at and she introduces the rest of her friends to tamer.

·     

Emotional Journey:

o   Outline the character's emotional journey throughout the drama, from the beginning to the end. The characters emotional journey shifts. As the plot begins to happen, which makes them feel more annoyed and this creates tension but the characters.

·     

Triggers and Vulnerabilities:

o   What events or situations trigger strong emotional responses in this character

o   When Marco decides to go missing and they have to look for him.

o   What are their vulnerabilities or fears? The characters go missing I’m not staying together.

·     

Character's Fate:

o   Do they achieve their goals or experience a different resolution?

o   Yes, there and up resolving the issue and coming together as a group.

By answering these questions, you can create a well-developed drama character with depth and complexity, making them more relatable and engaging to your audience.

Week/Date

Agenda

Extra/ Continuous tasks

Week 1

10 th March

Monday: Read through the play, discuss the play's theme.

Tuesday:  Audition preparation

Wednesday: Audition rehearsal

Thursday: Discuss themes for ‘Kiss/Marry/Push Off CLIFF’

Play background research

Script research

Research characters

Research dance styles

Week 2

17th March

Monday: Auditions

Discuss portfolio’s - Start research (Facts and questions) – Practical workshop

Tuesday: Theory/ Portfolio work -

Company contract – Rehearsal Planning schedule – Discuss production roles - Practical workshop. Ensemble work – Research – character research

Wednesday: Character development/ ensemble workshop

Thursday: Experimental workshop – Physical Theatre – DV8 – Gecko – Street Dance, looking at different dance styles to tell a story

Rehearse audition pieces

Character research

Script research

Dance research – Physical Theatre/ Street dance

DV8

Gecko

Rehearsal schedule

Playwright research

Week 3
24th March

Monday:

Character profile research – analysis - practical workshop – scene work

Tuesday: Theory/ Portfolio work -

Character research – character development – scene work - ensemble practical workshop – portfolio

Discuss production roles

Wednesday: Character development workshop/ Ensemble practical workshop – scene work

Thursday: Experimental workshop - Characters physicality workshop – exploring movement in characters natural state/ environment

Portfolios – research questions Character profile – analysis -

Character development workshop

Characters physicality

Goal setting

Week 4
31th March

Monday: Rehearsals – Scene 1,2 &3 work. - Review production roles

Assessed rehearsal

Tuesday: Theory/ Portfolio work -

Scenes 4, 5& 6 work – assessed rehearsal – quality check – chemistry read

Wednesday: 7, 8, 9 Scenes rehearsals tbc

Thursday: Incorporating movement in scene work - tbc

Portfolios – Research – rehearsal reflections – Goal setting

Portfolio check

Week 5 & 6
7 th April

EASTER BREAK – 2 weeks

Home study - Learn Lines

Portfolio - Research

EASTER BREAK – 2 weeks

Home study – Learn lines

Portfolio Research

Week 7
21st April

Monday: Revisit opening scene and continue to rehearse scenes 10, 11 & 12 – Run all scenes

Tuesday: Theory/ Portfolio work -

  13,14, & 15 Run all scene – scene work tbc

Wednesday: Training/ Scene 16, 17 & 18 – Rest of class running lines/ reflections

Thursday: Incorporating movement into scene 5 – use fabric from costume cupboard

Lines to be learnt

Portfolio – research – rehearsal reflections – Goal setting

Week 8
28th April

Monday: Scenes 19,20, 21 & 22. Run through all scenes/ movement

Assessed rehearsal

Review production roles

Tuesday: Theory/ Portfolio work -

  Revisit/ polish all scenes/ movement

Wednesday: Run through all scenes/ movement tbc with Serai polish scenes

Thursday: Polish all movement scenes with Serai

Portfolios – research – questions – rehearsal reflections – Goal setting

Portfolio check

Week 9
5 th May

Monday: Run show – polish scenes/ movement with Serai

Tuesday: Theory/ Portfolio work -

Run show – polish scenes/ movement with Serai

Wednesday: Run show – polish scenes/ movement with

Thursday: Run through all movement pieces/ transitions

Portfolios – research – questions – self-reflection/ rehearsal reflections – goal setting

Week 10
12th May

Monday: Run show – polish scenes/ movement – Costume/ prop check

Tuesday: Theory/ Portfolio work -

 Run show – polish scenes/ movement with River

Wednesday: Run show – polish scenes/ movement with River

Thursday: Run/ polish all movement scenes with River

Friday: Tech run – Full run rehearsal

Portfolios – research – questions – self-reflection/ rehearsal reflections – Goal setting

Evaluate tech run

Week 11
19th May

On the 19th of may we had a tech, which is where we decided where to put the lightning and sound for each of the scenes.

We also have to spend the whole day doing this to make sure we got everything right for the play. Making us do some scenes more than once.

However I still enjoyed this experience and and it’s was fun to learn some new skills.

Monday: DRESS RUN - Run through/ Blocking/ Transitions for all scenes/ Polishing scenes – run show

Tuesday: 3pm & 7pm - SHOW TIME!

Portfolios – research – self-reflection/ rehearsal reflections – Goal setting

What is dramatic theatre?

Dramatic theatre, also known as naturalistic or cathartic theatre, is a form of drama where the audience connects with the characters and events on stage, experiencing emotions and catharsis. It contrasts with Epic theatre, which aims to keep the audience detached and objective, prompting them to analyze the social commentary and issues presented.

Identify two theatre practitioners that specialise in dramatic theatre?

Two prominent theatre practitioners specializing in dramatic theatre are Antonin Artaud and Steven Berkoff. Artaud, a French playwright and theorist, is known for his advocacy of the "Theater of Cruelty," a radical approach emphasizing sensory overload and disrupting traditional dramatic structures. Berkoff, a British practitioner, is celebrated for his experimental and physical theatre style, often incorporating elements of Greek, Japanese, and Shakespearean theatre, as well as influences from Artaud and Brecht.

25/03/2024

During Shan lesson we got introduced to script called kiss marry push off the cliff we read as a whole class the script in order to see what it was about. We ran through the whole script and got a bit of context about it and discuss the interests on if we like the script as a class the script was quite short compared to other script from December as Shan didn’t wanna challenge us as she didn’t know if we would fully commit to the script.

During Shans lesson we had to pick a scene from the kiss marry push off a cliff script and audition for what roll we wanted. Shan made us highlight the script to indicate what team we wanted to do which we performed we performed in front of the class as an ensemble.

During Shan lesson she chose on which character we were and had to double casts some of the actors as our class had more numbers than the script I auditioned for Keira but got a girl called tamer. In this lesson, Shan put the characters together which they had to go over the scenes so that Shan could bring the play to life. Unfortunately, because there was double casting I didn’t get to work with the rest of the group so instead I had to highlight all my lines in the script.

During despina lessons when starting the class with a warmup then exercised and listen to music while warming up. Then we work on the play kiss marry push off the cliff. And created a scene for the play to use in the show.

During Shan lesson we rehearsed the play as a class to bring the play to life. We also had to switch between the two characters through out the rehearsal so everyone felt included and time to learn the play, before the show so we could have a good performance.

During Shans lesson we rehearsed the play, created new scenes, and included our ideas to bring the play do life. This created a foundation for us in the play, so we knew what we were always doing at all times. If we weren’t rehearsing, we sit to the side and watch the scenes to know how to act when it was our time to rehearse as a individual.

25/03/2024

During Shan lesson we got introduced to script called kiss marry push off the cliff we read as a whole class the script in order to see what it was about. We ran through the whole script and got a bit of context about it and discuss the interests on if we like the script as a class the script was quite short compared to other script from December as Shan didn’t wanna challenge us as she didn’t know if we would fully commit to the script.

During Shans lesson we had to pick a scene from the kiss marry push off a cliff script and audition for what roll we wanted. Shan made us highlight the script to indicate what team we wanted to do which we performed we performed in front of the class as an ensemble.

During Shan lesson she chose on which character we were and had to double casts some of the actors as our class had more numbers than the script I auditioned for Keira but got a girl called tamer. In this lesson, Shan put the characters together which they had to go over the scenes so that Shan could bring the play to life. Unfortunately, because there was double casting I didn’t get to work with the rest of the group so instead I had to highlight all my lines in the script.

During despina lessons when starting the class with a warmup then exercised and listen to music while warming up. Then we work on the play kiss marry push off the cliff. And created a scene for the play to use in the show.

During Shan lesson we rehearsed the play as a class to bring the play to life. We also had to switch between the two characters through out the rehearsal so everyone felt included and time to learn the play, before the show so we could have a good performance.

During Shans lesson we rehearsed the play, created new scenes, and included our ideas to bring the play do life. This created a foundation for us in the play, so we knew what we were always doing at all times. If we weren’t rehearsing, we sit to the side and watch the scenes to know how to act when it was our time to rehearse as a individual.

Agenda

Extra/ Continuous tasks

Week 1 March 10

Monday read the script. Discuss the story line.

Background research about the play. Script research. Research dance styles

Tuesday audition preparation.

Wednesday audition rehearsal.

Thursday discuss themes of the play. Kiss Marry push off cliff.

Week 2 17th march

Monday discuss portfolio start the research question and practical workshops.

Rehearse auditions pieces , character research

Tuesday portfolio work

Rehearsal run through going over lines

Character research

Wednesday

Character development ensemble workshop.

Thursday Experimental work shops characters physicality workshops physical theatre.

Week 3

Monday character profile research analysis practical work shop.

Portfolio research questions character profiles. Analysis character development.

Tuesday theory work character research development of scene work.

Wednesday character development work shops , going over my lines.

Thursday experimental workshop character physicality. Workshop exploring movement in characters natural state environment.

Week 4

Rehearsal scene 1,2,3 work review. Production roles

Assessed rehearsal

Portfolio research rehearsal reflection gold setting

Tuesday theory portfolio work, scene 4,5&6 work assessed rehearsal quality check chemistry read

Wednesday 7,8 9 scene rehearsal

Thursday incorporating movement in scene work

Week 5 & 6 7th April

Easter break 2 weeks of home study learn lines portfolio research

Easter break 2 weeks off home study learn lines portfolio research

Week 7 21st

Monday: revisit opening scene and continue to rehearse scenes

10, 11,12 run all scenes

Lines to be learnt portfolio research rehearsal reflection

Tuesday theory portfolio 13,14&15 run all the scenes

Wednesday training/ scene 16,17,&18 running through the lines

Thursday incorporating moments into scene 5  use fabric for the costume cupboard.

Week 8 28th April

Monday scenes 19,20,21&22 run through all scenes movement. Review production roles

Portfolio

Research questions rehearsal reflection

Tuesday theory portfolio work  revisit/ polish all scenes/ movements

Wednesday run through all scenes/ movement with serial polish scenes

Thursday polish all movement scenes

Week 9 5th may

Monday run show polish scenes movement with the class

Portfolio research questions, self reflection rehearsal reflection goals.

During shans lesson we added more lines the the script to make it more better which we had to practice. After that we ran through the script in class some ,people had to sit and observe the acting techniques that were shown when rehearsing. We finally got through the play the whole play which could have been a bit more smoother.

 The hikers were killed by a stab avalanche that forced them to leave their tents in the middle of the night.

The hikes mostly like dead from hypothermia after being exposed to the harsh winter conditions without adequate clothing and shelter.

The hike’s bodies were found scattered, some with severe injuries, and many were partially naked.

While the avalanche theory provides a strong explanation for the death’s the exact circumstances surrounding the hikes evacuation of the tent and their injuries remain unclear.

Some people still believe that the incident was the result of a military experiment or something else, but the most widely accepted theory remains the slab avalanche.

Is pushing Ricky of the cliff premeditated?

Yes it is premeditated as marco gets mad at Ricky at the end of the play of annoying him and making marcos friends turn against him through out the play.

If it isn’t where does Marco get the padlock?

The only person Marco could of got the padlock from is noush as the rest of the characters didn’t really like Marco apart from noush as he was talking about Marco friends behind their back and giving him advice about his friends.

Is Marco intending to scare Ricky without out intending to kill him ?

Well believe that Marco didn’t want to to kill Ricky he just want to show dominance as Ricky was being very horrible towards Marco so he tried to intimidate him.

Maybe Marco wants to say his peace and sees Ricky as his main rival?

Yes I think that Marco did wants to say his peace to Ricky , but Marcos anger got to the best of him not meaning to hurt Ricky.

Does Marco want to re join the group?

Yes didn’t want to re join the groups but the group didn’t really want to accept Marco after him going missing and lost trust him.

Is Ricky Marcos main obstacle?

Yes as it was his fault why is lost all is friends at the end of the show.

Is Marco just trying to silence Ricky?

No I don’t think that what he wanted to do but I feel like her felt threatened by Ricky.

Is he testing the rest of the group to see if they’ll rescue Ricky?

Yes because he wanted to see if the group actually cared but Ricky as much as they acted like they do.

Is Marco motivated by the humiliation of being found semi-naked which is terrible for a teenager boy?

Yes because he was more embarrassed than angry as he did not really feel comfortable being semi-naked in front of the group. Which probably made him act out of character.

At the start of the play, Ricky drags Marco in his sleeping bag is this a tit for tat?

 Yes and no as Ricky did start it first why Marco got mad at him , however Marco was still in the wrong as he went too far.

Jonah Andre hauler king is a British- American actor. He began acting while studying at St John college, Cambridge. He is best known for playing prince Eric in Disney musical films the little mermaid.

Hauer king first feature was lead role in Danny Hustons the last photograph, which received its world premiere at Edinburgh international film at festival.

He played Laurie in 2017 BBC versions of little women and starred ad Andries Ashes I film ashes in the snow in 2018 ,Bel powley , Paula Wilcox in Howard end as as David in postcard London in 2018.

What are the main responsibilities in costume design.

The main responsibilities in costume designer is to visually interpreted a characters story through clothing and accessories, working within the production team and budget.

What technical or interpersonal skills are essential?

In costume design, both technical and interpretive skills are crucial. Technical skills encompass garment construction, drawing, and knowledge of fabrics and historical styles, while interpretive skills involve understanding the story, characters, and director's vision.

How does this role interact with others in a production (e.g., how a lighting designer works with the director)?

In a theatrical production, costumes interact with other design elements, including lighting, set design, and the director's vision, to create a cohesive and impactful visual experience. Lighting designers collaborate with the director to understand the scene's purpose and communicate the desired mood through light and shadow.

Find a real-life example of someone working in this role on a professional production. Include quotes, images, or interviews if possible.

The photo is at the top.

Application to Kiss, Marry, Push Off Cliff:

How would this role contribute specifically to a production of Kiss, Marry, Push Off Cliff?

What creative or technical decisions might someone in this role need to make?

Costume design specifically contributes to kiss marry push off a cliff because in the play we need costume design to make the scenes more life like to come off across as more natural to make the characters get into role.

Creative technical decisions that someone in the world needs to make is finding out what age the characters are to base their outfits and costume design on them and to know what timeline the players being set to get the ideas for the costumes and to make sure that all actors are comfortable with wearing the clothing.

The reason why I could see myself doing costume design in the future it’s because I like working with new people and including their interests and passions into costume pieces. I like being very creative when it comes to fashion and design and to explore new ideas .

And using costume to bring that element to life as costume is something that is mainly focused on when acting. costume design is really amazing. I’m fine to bring everyone’s ideas together.

Costume design is valuable and rewarding to purse in the future because it combines creativity storytelling and cultural insight. As the entertainment industry continues to grow. The profession plays a crucial role of bringing characters to life, helping to visually express personality era and emotional through clothing.

The jobs also require research and collaboration with director, set designers and actors making it both intellectually engaging and team-oriented.

This makes the role not only creative but also meaningful. For people like me are passionate about fashion story telling and visual art,costumes design offers a promising and inspiring future.

Her books are still enormously popular and have been translated into ninety languages.

As of June 2019 Blyton held the 4th place for the most translated author. She wrote on wide range of topics, including education, natural, history, fantasy, mystery and biblical narratives.

She is best remembered for noddy, famous five, secret seven, the five find- outers, and Malory towers books although she also wrote many others.

During shans lesson we rehearsed the script and went through our lines. After that we worked on the movement for the show and spent the rest of the lesson practicing for it to develop the scene to make it better. To end of the lesson with that.

•Make more you completing course work daily.

•Make sure you go over your lines every day.

•Make sure to ask my teacher for help if I need it.

• Work As a team for the show.

Make sure you show up of college every day.

•communicate on how you’re feeling to your peers and teachers and remember you’re not alone.

Does the title reflect the play and why.

Yes I do think the title does reflect they play because at title has a huge significance to what the players about.

2 characters and performance put In practical skills and presentation tab.

Marco, I think he was power and control , but also wants friends that are gonna stick by is his side.

What I think that get in Marcos why is ego and not being able to communicate with his friends without being shut down.

If I was Marco I would try to Calm down and no leg my feelings get to me. And to be more respectful, patient in in order to get a better result from my friends.

In scene one I would be calmer tone and take deep breath and counting backwards. I would make I'm more direct with my friends.

3 Style and staging

I would use a simple set design for the show as the play isn’t that long and there’s not a lot of characters. I would use staging block , props and set changes to make to play more life like.

I would use lightning on the stage to that the characters stand out to the to the audience. I would use spot light on the characters when they’re at the front of stage. To be more engaging.

The overall mood of the play would be dark in some scenes like scene 9 but when there at the camp sight, the mood would be more playful. With there being a bit of tension for some scenes so it would be intense at times.

4 what I found interesting about the play was where it was set and how the characters personalities evolved a lot in comparison from the start of the play. And how they were different ages and made it work well. Furthermore I enjoyed the fact that the characters were teenagers so some of topics in the play were quite interesting and relatable to me.

5 creative task

For Tamer my character I would make her wear cargo and a top as it’s in the camp sight so I think it would be appropriate for the play and costume.

The feeling in the show was quite mixed emotions. As there was lot of betrayal in the shows making that characters turn on Marco which is the main character. The show a lot of care in the beginning and seem so genuine. But as the show progressed the switch attitude and energy when it came to more making home get angry and push Ricky of the clif at the end of the play to show more if his masculinity.

The Set will include staging blocks, props, lighting and a fire for the camp sit, with tents.

Key themes

Sexuality, attraction , friendship ,betrayal drugs and alcohol

I strongly believe that I managed my rehearsal time really great as I was able to show up even when I found things difficult. Which elevated me to do to my Best abilities.

I made sure I was going through the lines daily and running them even when I wasn’t in rehearsal. However due to my memory I found it had to remember all of my lines.

How well did the performance go?

I think my performance went well as I was able to run through the show without stopping and it was really good that improvised when I forgot the lines In the show to keep it professional at all times.

Did you execute your role?

Yes I think I excuted my role to the best of my ability,

Were there any mistakes in my performance?

Yes there’s was a couple of mistakes in my performance which we didn’t let effect the show. Which were missed lines making us skips some scenes. But it’s was bad to the point people noticed.

Did the performance engage the audience and maintain their interest throughout?

I think the performance did engage the audience with some of the characters like Marco and noush as they were the most entertaining characters in the show.

Did you effectively convey the emotions and intentions of your character?

For my character Tamer I made sure I conveyed the emotions and intentions making it known when my characters was in her feelings and experiences different emotions. I use my physical skills to display this and facial expression. When my characters feel upset or angry.

Was there good chemistry and interaction between yourself and your partner?

Well I had good chemistry with some of the characters such as Marco and Jess which I thought that I worked the best with through the show.

Did you peform with confidence on stage?

Yes I did perform with confidences on stage which I found quite hard in the beginning as I have stage fright but, which the support for my team they helped me over come this.

How effectively did you engage with the audience?

I made sure that I was engaging with the audience at all times and trying to make them feel included with the storyline.

What were your strengths and areas for improvement?

My strengths were that I made sure I sounded engaging to the audience, and using my body language to show my character’s thoughts and feelings. Furthermore I used my facial expressions to show when my characters was annoyed angry or disappointed at times.

However if I could improve my performance I would make show that we didn’t miss any lines and make show we was a bit more louder for the audience to hear us even better.

In theatre practical skills refer to the hands on techniques and abilities necessary to bring a production to life encompassing everything from acting and stagecraft to technical aspects and design.

Importance of practical skills

Practical skills are crucial in theatre because they allow performers and technicians to effectively create and execute a production bringing the characters story’s to life.

These skills enable performers to interpret and embody characters through physical and vocal techniques.

Real Examples

Theatre offers numerous opportunities to develop practical skills applicable to various aspects of life. This includes communication, problem-solving , team work, confidence and adaptability.

Listening:

Theatre emphasises active listening, crucial for understanding and responding effectively to others in various contexts

Body Language:

Stage presence and non-verbal communication skills learned in theatre can improve confidence and impact in professional and social settings

Creative Thinking:

Theatre encourages finding innovative solutions to challenges, whether it's adapting to a new scene or overcoming obstacles in a production.

My reflection

The practical skills in theatre that have been most useful to me would be Communication, confidence and creativity. As these are the skills that have helped me the most to improve the skills in theatre. Because I wasn’t as confident in the beginning as i am now.

We had another show at seven which we a bit more better then the first show and this one lasted much longer. At the end of the show the crowed clapped for us and we bowed our head and celebrated.

The character that I have chosen is tamer which’s is who I auditioned for as I think I connected with her character the most.

Step 2 pick a scen.

The page of dialogue that I choose was scenes one when the characters are getting introduced and is where we find out about tamer involvement in the group. On the line you should have brought the eye mask Carl. for tamer I use a lot of physical body language and facial expressions to convey her emotions.

Step 3 prepare for addition questions

The reason why I wanted this role is because I incorporate her character well unused physical and body language to display that. However, I didn’t audition for Tamar at first I wanted kiara which I didn’t get.

What is happening in the scenes is that tamer is trying to stick up for Marco as his friends don’t really trust him like that and she wanted to protect him.

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

The person is Marco and I think tamer has feelings for Marco secretly and that’s why I think she’s trying to protect Marco and his feelings.

Step 4 The audition date is set of the 31st of march 2025 at 12:15pm