The start of kiss,marry,push off ,flip: In last lesson instead of us doing warmups we immediately went straight into our first rehearsal and our first scene that we were working was the opening scene. How it starts it’s that everyone is that everyone  huddling up and whilst I’m centre stage and I was sleeping in my sleeping everyone once having a conversation about kicking me out of the friend group and the camp because of what happened last night as soon that their conversation was over, they picked Oduro to wake up and wake up but as he was trying to wake me up Ignored him  but when he got fed up he dragged me around for me to wake up wake up which I eventually did and everyone was telling me that they want me out of the friend group and the at the start I’m a bit confused and I try my best to forgive me but at the end of the scene I get frustrated and  I cuss out the whole group

Character profile:

Name: Marco 

Age:18

Gender:male

Date of birth:1st january 2007

nationality:congolese

Physical appareance:

Height:5'9

.athletic

.Hair colour is black

. eye colour:brown

Background: 

place of birth:east london

. it just him and his dad

Education:sixth form

. Back when Marco was a little kid His mum was having problems with her mental health and because of unfortunately, she took her own life, and Marco saw her, and he became traumatized. 

Practical skills help an actor by enhancing their ability to perform effectiveley and bring the characters to life.

For example a professional actor that I know that used practial skills in a scene is an actor name rudy pankow he used practical when doing a scene with another professional actor maddison bailey where he dies in the final episode and improvised the line wich made the scene really emotional.

The practical skills that I used in the middle scene was improvisation,communication, and teamwork.

I feel like my stregnths is improvisation because although I don't know my lines I know what goes on in the play

key facts:

The event:

Nine experienced skiers (eight men and two women) went on a ski hike in the ural mountians and never returned.

The discovery:

their bodies were found a month later , scattered across a remote mountian slope, with some experiencing horrific, inexiplicable injuries.

unusual cicrumstances :

the tent was cut open from the inside, suggesting a sudden and frantic departure, with many of the hikers leaving their clothing and boots.

inexplicable injuries:

some bodies were found with missing eyes, a missing tounge, and severe skull fractures suggesting trauma beyond hypothermia.

Lack of clear explanation:

The incident has attributed to various theories, including weather related incidents (avalanche , flash blizzard)

military testing, alien encounters, and even a supernatural cause but none have been definetly proven.

She's famous for her noddy,Famous five,secret seven, the Find-outers, and malory tower books, although she also wrote many others, Including St claire's the naughiest Girl and the faraway tree's.

Intresting facts about Enid Blyton:

Enidid blyton was born on august 1897 in London England . she started writing at an early age. a children's magazine published one of her poems when she was just 14.

Blyton trained to be a teacher but she continued writing poems and stories whilst working as a teacher and a governess.

Hannah is a director and dramaturg, with a focus on new writing and work centered around the female and queer experience. She is Artistic director of theatre company damsel productions, who recently co-produced the sell out show the ministry of lesbian affairs at soho theatre.

She was working for theatre company called Damsel productions.

She is known for directing many theatre's .

she has won an award for best ensemble called The brief life and the mysterious death of Boris the third.

Not only that she was nomiated for outstanding achivement in affliate theatre at the oliver awards in 2024

SMART Goal Template for Performing Arts Students 

Specific: Improve my ability to work my character's emotional range to catch the eye of the audience.

Measurable: By attending classes everyday and focus on my character's emotion and true intentions so that both me and the audience can figure out why marco's the way that he is.

Achievable: After every rehearsal I go home and start practicing on my emotions and I was doing certain exersices to bring my character to life even more

Relevant: forget everything around me and just slow down my lines

Time-bound: By the end of next week I'd perform a certain lines working on my emotions record myself looking back on it and see what can I Improve.

SMART Goal Template for Performing Arts Students 

Specific: I want to improve on slowing down my lines and taking my time with it.

Measurable: By forgetting what's going on around me and just realize that's not my personality it is just my character that I'm playing.

Achievable: D

Relevant: Delovoping my lines is crucial because whenever I'm doing a scene I just whizz through with and don't take my time with it and that is pretty much my weakness

Time-bound: By the end of june I'd already work on my weakness and turn it into a strength

SMART Goal Template for Performing Arts Students 

Specific: Improve my ability to us the whole stage to move around a lot more

Measurable: after rehersals I'd read my script and move around the whole area to get more comfortable with myself

Achievable: head into dance after hours focusing on using my whole body to move around the whole stage to make the scene ten times better

Relevant: Devolping us my arms to make the scene intense and more beautiful and create a vison on what the scene Is all about.

Time-bound: BY june I'd perform a solo with my musiclaity and my body parts to make the audience see that theirs something more to the character.

SMART Goal Template for Performing Arts Students 

Specific: Improve my ability to make the scene build up the scene and make it intense

Measurable: Attend rehearsals everyday and focus on not using my agression and just calm down a bit.

Achievable: I'd record my myself doing a scene go back look back on it and see where people believe that I made a mistake and improve on it.

Relevant:  Developing a my ability to build up the scene is crucial for the scene when starting slow the audience would think

Time-bound:  By june I'd slow down myself and slow down the pace of the scene so it gets more intense by the end of the scene

Back when marco was a kid his father used to be a drug drealer and he'd do criminal stuff around marco to the point when he turns eleven years old he can teach marco the game.

but litte does he know that his father's influces would soon impact marco's life and then would make marco take that uses as his personality with his friends.

and by Marco taking his dad's infulences helps hiding his pain away from his friends

I felt like I exucted my role very well and I got people to see what I'm all about as far as who my character's is all about and it made people love and making me gain my respect from everyone in drama course. Before my scene I was really nervous because there was this scene I was struggling and I was worried that if I don't get this down the play would be terrible but luckily although I didn't know some of my lines I already know what was going and it made and sarai improvise some lines without the audience seeing our mistakes and made the scene really funny. I feel like with me and sarai's teamwork and chemistry it got the audience really engage with our scenes and maintain there intrest with both of our character's. I effecteviley convey my emotions and my intentions with this character, During me and sarai scene there was good with me and my partner Sarai reason is because everyone was loving our chemistry and hoe both of our characater's came to life and it got to the point where I was able to let go of the stress I was feeling and go onstage and perform with a lot of confidence on stage and got me to feel a lot free with myself and forget what people said and just go with the flow.

Thanks to me and Sarai's improvisation with some scene's we was able to make the audience laugh making them see our chemistry with one another and making us effectively with the audience.

I feel like with my strength is that whenever I forget some of my lines I know what goes on in the scene and that leads me and the whole class improvise some of the scenes and make it unnoticeable with really well

kiss marry push off cliff is from the national theatre connection play. That is a book that includes ten young writers the national theatre write a connection book every year

This is their story: National Youth Theatre empowers young people to tell stories and find their voices on leading stages, screens and behind the scenes. For nearly 70 years we have equipped young people with toolkits to realise their creative potentials, from Helen Mirren and Daniel Craig to Regé-Jean Page, Ed Sheeran and Florence Pugh.

Partnering with Netflix, EON Productions, Microsoft, BBC, Sky, TikTok and other leaders we pioneer an industry-oriented approach where young people learn from top professionals in front of live and online audiences, including our 10m+ online audience. We offer free alternatives to formal training and exclusive masterclasses with world leading talent from Ariana Grande and Cynthia Erivo to BAFTA winners Edward Berger and Susan Wokoma.

to theatre.

In 1955, with a group of visual artist disenchanted with growing institutionalization of avant-grade, he formed a new theatre ensemble called Cricot 2. In the 1960's ,Cricot 2 gave performances in many theatre's in Poland and abroad, gaining recognition for their stage happenings. His interest was mainly with the absurdrist and polish writer and playwright Stanislaw ignancy wikiewicz. Stage productions of Witkacy plays the cuttlefish and the Water Hen were regarded as his best achivements during this time. A 1972 performance of the water Hen was described as the least published, most talked-about event at the Edinburgh festival

His relationship with the East German state began to deteriorate however with this drama Die Umsiedirin( the resettled woman)

which was censored in 1961 after only one performance. The East German government remained wary of muller in subsequent years, preventing the premiere of Der Bau(construction site) in 1965 and censoring His Mauser in the early 1970'S . Yet despite these hardships, muller's work began to gain popularity both in West Germany and internationally at this time. many of his best plays from this period were premiered in the west: this includes Germania Death in Berlin, which was first performed in 1978 at the Munich hammerspile . Heiner Müller directed a production of The mission (Der auftrag)

in Bochum 1982. In Paris, jean jourdhell directed the world premiere of Die hamlemashine in 1979. English traslations, first by Helen fehavery and Marc silbermen,

then Carl Weber, introduced muller to the English speaking world in the late 1970's

While working at the Arena Theatre in São Paulo, Boal directed a number of classical dramas, which he transformed to make them more pertinent to Brazilian society and its economy. Among these plays was John Steinbeck's Of Mice and Men, known in Brazil as Ratos e Homens. This was Boal's first performance as a director at the Arena Theatre of São Paulo. Critics acclaimed this piece and Boal won the Prêmio de Revelação de Direção (Direction Revelation Award) from the Association of Art Critics of São Paulo, in 1956. In the early sixties, the ratings at the Arena Theatre of São Paulo started to drop, almost causing the theatre to go bankrupt. Consequently, the company decided to start investing in national theatre (pieces written by Brazilian dramaturgs) as a move that could possibly save it from bankruptcy. The new investment proved to be a success, opening up the path for a national theatre scene. Boal then suggested the creation of a Seminar in Dramaturgy at the Arena Theatre, which was quickly implemented and soon became a national platform for many young playwrights. Many successful productions were born from this Seminar and now form part of the Arena Theatre of São Paulo's nationalist phase repertoire. One of these productions was Chapetuba Futebol Clube, written by Oduvaldo Vianna Filho in 1959 and directed by Augusto Boal.^[6]