We started with Ice Breakers. This is due to the importance of getting to know and grow bonds with your fellow actors. Then we looked into Rahld Dahl's Lamb to the Slaughter. Finally revisiting the rules of improvisation. My improv was not good as I was rusty due to not practicing any for a good length of time and the chaotic stress from midway through the day.

Thursday 19th,

We revisited Jacque Lecoq and his 7 Stages of Tension and how they impact our physical acting and movement. We further explored the use of levels and movement through a set of exercises. Moving a stick as a pair and being confined to a box. Through both of these exercises I felt more conscious on the movement and flow which I forget about from time to time.

We also worked on Tableaus covering the life of Mary and Patrick.

Friday 20th,

Looked at devising Theatre and Monologues scripted by Collin. I kept sitting on the fence, indecisively swapping which monologue to choose wasting a considerable length of prep time. I attempted to use Vocal Elements such as Emphasis, Accent and Pause, as well the Given Circumstance for the context surrounding Patrick in this stage of the story the monologue takes place. I received insightful and constructive feedback.

This is our stimulus for our devised theatre piece set to be performed in December. Therefore, understanding the stories' thematic and narrative choices will allow us to be able to refer back to them when devising the key aspects of our performance. Using these key points and themes as a trigger for idea generation and as a starting point.

Themes we identified were; Family, innocence, Love and later Betrayal, gender, and intention vs impulse.

Research: Purple Posts

Photos, Videos and Animated GIFs: Red Posts

Personal notes: Blue Posts

Other: Green Posts

Notes for Me: ((EXAPLE))

Reference / reference link: [EXAMPLE]

Jack Lecoq, born on the 15th December 1921 was very phisical in his teenage youth partaking in various sports and activities. Lecoq found himself drawn to gymnastic in particular where he started to see the geomentry of movement. In 1937 he began studying physical education and sport which he taught from 1941 to 1945 nabbing himself some teaching diplomas as well as starting a drama group with Gabriel Cousin by 1945. He was then taken on by the “Comédiens de Grenoble” to train his fellow actors in physical training. Here he discovered masks and was introduced to the ideas of Copeau (the theatre had to enlighten the human spirit).

Leqoq then found himself in Italy from 1948 to 1956. During his 8 year stay he directed his first pantomimes at the university theatre in Padua and embarked on research into masks.

In 1956 he came back to Paris and opened his School of Mime and Theatre which was a huge success.

Lecoq’s had techniques such as Clowning and Lecoq’s 20 movements. Another was the 7 Stages of Tension which helped actors with varying levels of tension. For actors these provide an effective method for exploring the dynamics of characters, scenes and improvisations. The stages being:

1. Lazy / exhausted - No tension whatsoever, Limp, movement and speech is laboured.

2. Laidback / relaxed - Laid back, relaxed. Characters usually are unbothered and don't have worries at that moment.

3. Neutral - Funtional with no urgency. Efficient with just enough energy as you need to get things done.

4. Curious / alert - Exploratative, you are interested in the world around you.

5. Suspense - Suspicious and on edge, jumpy. Is there a threat in the room?

6. Passionate - Frantic, wild, quick, irrational. There is a threat in the room.

7. Tragedy - Deer in the headlines, The bombs just dropped, you are so tense you are locked tight and are frozen stiff.

• “Yes and..." always remember to add something into the scene to help keep the flow going between you and your fellow actor. 

• "No..." or blocking... Flat out refusing to go along with what your fellow actor contributes to a scene damages the flow of the scene but more importantly refusing to go along with the flow puts your fellow actor down and you end up hogging the direction. 

• Questions. Questions. Questions... Too many questions can also be negative as you force your fellow actor to put their next contribution aside as they improvise an answer for your fiftieth query. Therefore the flow is hindered, your fellow actor is put down again and you end up hogging the scene.

I've stuck with characters used in the stimulus as best I could out of ease however I included the unborn child. However, as there was no way of knowing the future identity the scene had both a girl and boy. For the Moloney children I used [Behind the Name] which had popular baby names from 1954, the year Lamb to the Slaughter was published. From there I chose Jacqueline (Ranked 13th) to call back to the police Sergeant Jack Noonan from the stimulus and Colin (Ranked 22nd) for a clear reason.

I realise afterwards I formatted it as a screenplay script rather than a stage play script.

A higher pitch can indicate excitement or fear, while a lower pitch can suggest seriousness or authority.

• Projection: The volume or loudness of ones voice.

A loud voice could indicate that a character is angry, excited, or in a crowded location whilst quiet voice or whisper could indicate shyness, youth or old age, or small stature.

• Pace & Rhythm: The speed of ones speech or cadence.

Variations of pace make the dramatic journey an exciting one for the audience. It can also aid in conveying a characters emotions. If a character is fast spoken it could convey nervousness, panic, or inner conflict.

• Pause...

helps actors convey emotion, create tension, and develop their characters.

• Accent: A distinctive way of pronouncing a language.

Can help actors add depth, realism and authenticity to the characters and performance.

• Tone: The delivery of ones lines. Are they Jovial? Envious? Irritated? Disappointed?

For actors, your tone of voice impacts how much the audience finds your character authentic.

• Emphasis: Putting importance on certain words or phrases to increase their impact and significance.

Emphasis can change how the audience views a line or scene. It can also help actors deliver a truthful performance and communicate emotions.

For us, the stimulus for our Devised Theatre Performance will be Roald Dahl’s Lamb to the Slaughter. A stimulus being the inspiration used to create a piece. Stimuli are the diving boards which allow devising theatre to be unique whilst still having an anchor to refer, reference and get inspiration from.

• Emotional Recall; when an actor pulls on their past emotions to aid in conveying a character’s emotions.

• Subtext; what is meant in between the lines.

• Objective; what is the characters objective in the scene?

• Super objective; what is the characters objective across the entire performance?

• Magic If; what would you do If you were in the character’s shoes?

• Given Circumstance; what is the context for your character?

These aid an actor in faithfully portraying and emotionally connecting to their character and role.

We partook in the Alabi minigame. I revisited Emotion Recall. Performed hot seating for Mary, Patrick, Sam and a pair of officers. Improvised scenes from the Stimuli. Utilised our creativity to creativity to extend an incomplete script based off Patricks confession to Mary. Charlie and I worked on a duet jazzy exploring the inner turmoil of Patricks mind. Colin suggested that it could be a Greek chorus. I feel that having a chorus of invasive thoughts would be very snazzy. It would also incorporate the work the group did on Greek Choir.

Thursday 3rd,

We explored movement through limiting our other methods of communication. We conducted this via the use of masking, exploring how they'd move, hold themselves and interact with others and certain situations. A fun evolution from there was our devised scenario where Charlie, Walter and I worked as our masked characters to showcase a mishap at the skating ring. THEORY.

Friday 4th,

We explored the application of slowing down ones motion and the incorporation of accent to improvised dialogue. We used a middle clash and common English accent. The latter being more cockney, akin to Officer Plod or The Governor form the Slammer. To achieve this drop your Hs and emphasis your Gs; "Well if you Got that. Then come'ere then". For middle class we can get away with it for the most part, we simply have to avoid incorporating too much or any jargon.

• The BFG (1982)

• Charlie and the Chocolate Factory (1964)

• The Twits (1980)

• Fantastic Mr. Fox (1970)

• The Witches (1983)

• The Giraffe and the Pelly and Me (1985)

• James and the Giant Peach (1961)

• Matilda (1988)

• The Enormous Crocodile (1978)

• Revolting Rhymes (1982)

• Billy and the Minpins (1991)

• Kiss Kiss (1960)

• Dirty Beasts (1983)

• Someone Like You (1953)

• The LandLady (1959)

• Lamb to the Slaughter (1953)

• Roald Dahl’s Revolting Recipes (1994)

The last 2 could be handy, the first is our Devising Theatre Stimulus and the second could potentially be useful in preparing for the performance itself.

Friday 18th

Quick warm up

We covered the entirety of what we have so far. So up until Patricks final monologue in the 'Afterlife'. I pondered changing how I deliver the "and holds a high level of authority in the local community" by saying it in a higher pitch to emphasise the word.

I assisted Ellie with police scene, our goal for this session was memorisation. With this particular scene it has to be very quick and has to bounce back and forth repeatedly. Therefore, the best way to speed up the scene without losing the quality is to have the lines memorised. We made decent progress however only having one of the officers in the scene did limit how much we could achieve.

Lots of Padlet work... A good reminder to memories and the consequences of failing to properly recollect them.

Wednesday 23rd

We all travelled down up to London to see the almighty Coriolanus by William Shakespeare. Due to an issue on the M1 we unfortunately had a delayed arrival but we were able to get the our coach of peoples seated thankfully. I enjoyed the mixture of historical and modern elements such as the Shakespearean speech, Roman decorum, decore and architecture and weaponry yet also including modern technological advancements such as suits, military uniforms and trench coats, televisions and microphones.

It has taken mew till now to realise that personally for act one my role is rather small. In terms of lines I have two immediately after the start about Marys' excitement, Patricks status and that not all is as it seems, then two lines at near the end of the act with "loud" and "What's Mary going to do now???". With just the Sam scene in act 2 I should try and aid more in the production side.

Sam: "Hi there."

Mary:"Hello there Sam."

Sam: "Merry Christmas love. You got everything you need?"

Mary: "Almost."

Sam: "What you looking for?"

Mary: "Gravy, yall logs, Brussels sprouts.. oh and potatoes"

placing everything near Mary into a bag

Sam 2: "Coming right up! Sorry if the potato's are a bit squished loved."

Mary looking confused

Mary: "Why on earth would they be so squished?"

Sam 2: "Because I've been sleeping on them. Potatoes are so multifunctional they can act like a bed."

Mary: "Why are ypu using potatoes as a bed Sam?"

Sam1:"cause my house burned. In a fire. Now im homeless

Sam2: But the commute to work isn't so bad. I just get off the potatoes

Sam1:"cause I live in the shop now"

Sam2:"cause I live in the shop now!"

Mary: I'm very sorry to here that Sam. What happened?

Sam1:"Well I paid some one to burn it down for the insurance claim but I never paid my insurance.'

Sam2: "But now my horizon is wider and I'm more comited to my work"

Mary:"Oh...how lovely?"

Sam2:"yeh it's pretty nice"

Sam1:"unless you count… The temperature,"

Sam2: "the humidity"

Sam1: terrible coppers

Sam2:"and robbers. It's pretty nice"

Mary:"Well Sam I must be on my way.Myst be getting back to that husband of mine"

Sam:"Well how is Patrick I hope he's doing fine"

Mary:"He's alright just a very picky man when it comes to food. He's at home waiting for me to get back and cook him Christmas Dinner. That reminds me ypu got anything festive?"

Sam2:"mince pie?"

Mary:"No thank you?"

*Sam eats a bite

Sam1:"gin and tonic"

Mary shakes her head and puts her hand on the baby

Sam chugs it

Mary:"alright Sam. Well I better be on my way. Merry Christmas."

Sam2:"Merry Christmas"

Sam1:"and a mediocre new year"

Mary and leaves

These at the moment consist of; A blue Christmas suit, a couple bow ties, a couple Santa hats and a brimmed Christmas hat, a length of red and sliver paperchain, and a pair of extended fingers and a pair of gloves.

2. Collaboration: The process is highly collaborative, involving all members of the group in the creation of the piece. This means everyone contributes ideas and takes part in the decision-making2.

3. Improvisation: Improvisation is a crucial tool in devising theatre. It allows performers to explore different possibilities and discover new ideas organically3.

4. Physicality: Devised theatre often relies on physically expressive performance styles. Movement and physical theatre techniques can be as important as dialogue3.

5. Flexibility and Adaptability: The process is fluid and can change direction based on what is discovered during rehearsals. This means being open to new ideas and willing to adapt4.

6. Use of Stimuli: Various stimuli such as music, images, texts, or objects can be used to inspire and generate material5.

7. Yes, And…: This is a fundamental principle in improvisation where participants build on each other’s ideas without blocking them. It encourages a positive and creative environment1.

8. Editing and Refining: After generating a lot of material, the group will go through a process of selection, editing, and refining to shape the final performance3.

9. Embrace the Unknown: Devising theatre often involves embracing uncertainty and allowing the piece to evolve naturally4.

Focus on Process: The journey of creating the piece is as important as the final product. This means valuing experimentation and discovery throughout the process

Update: However, while running through the entire script with the music put in, I noticed that for the police scene despite how well the tune fits the scene, due to how the scene has been changed with the "Love abit of Turkey" and the musical screaming? joke the scene takes far too long especially with the speed Ellie and Spencer deliver it. In turn the song had to be looped over and over. I doubt the track would work in this instance now without being modified and edited to accomidate the scenes direction. I could very well do this however, this runs a higher chance of potential copyright infringement. Therefore, I shall go out on the prowl for more fitting music to capture the cartoonish essence.

I found I am very expressive and use my expressions effectively as shown recently in our Staged "Who took the Cookie from the Cookie jar" scene and Pinter scene. However, I do not want to mainly be reliant or over reliant on my facial expressions. My plan is to force myself to utilise mask work, body language and movement and thus in theory improve these elements.

The mask itself is wrapped in Christmas wrapping paper and I'm currently pondering whether to add a Greek comedy design to it. Either that or inverting the wrapping paper to hide the design and give a blank appearance.

• Blue Christmas suit (trousers and jacket)

• Christmassy suspenders (if I can my hands on some, if not then a belt will probably suffice)

• A Christmas tie

• A pink shirt

• A Christmas hat

With the optional parts being;

• A mask (Currently working on it, just needs the elastic/string)

• A White Wig

• Black underlayer (a black full body suit which covers the entire body in black, hides hair and skin. Thus giving an interesting appearance with the stage lighting)

• Long black fingers (to pair nicely with the underlayer, it will hopefully emphasize the intriguing / unsettling look caused by stage lighting.

• Green Elf Slippers?

Wednesday 6th

Went through everything we got up to pre half term which was to the end of act 1. Then Robyn, Spencer and I worked on the Sam scene. Colin suggested we have the negative version of Sam puppeteer the happy Christmas worker Sam, as well as have the negative Sam comment on what’s going on. Emphasising the utter distaste they feel inside. I brought along the mask and we discussed wheather we should have a set of masks mimicking the half masks from the Phantom of Opera with a Greek tragedy & comedy twist. This would allow for a connection between the Sams as well as show of some facial expressions.

Thursday 7th

Covered Shakespeare and his works. His tragedies, comedies, sonnets and historical works. Walter and I worked on a monologue from Coriolanus. Attempting to faithfully portray the passionate rage presented in his betray scene. To achieve this I utilised tone and pause.

Born in Hackney, north London, Pinter was the son of a Jewish tailor and grew up in a working-class area. He studied acting at the Royal Academy of Dramatic Art in 1948 however left after two terms to join a repertory company as a professional actor. Pinter then toured around Ireland and England until 1959.

Pinter is known for their naturalistic use of silence and pauses as well as casual and informal language to create realistic conversations, interactions and connections between the characters in his plays and scripts. This unique writing style is referred to as "Pinteresque style". Which makes me juxtapose it against picturesque as real life is often not idyllic, beautiful or perfect.

Pinter was also awarded a Noble Prize in Literature 3 years before his death. Pinter's plays include Silence (1969), Tea Party (1963), Monologue (1973), The Room (1960), Ashes to Ashes (1996), and Betrayal (1978).

The tree will be a valuable asset to our performance as it will give of not only a pleasing aesthetic but also a sensory boost to the ambiance through scent.

Code name: The Shopkeeper / unknowing alibi 

Age: 28 

Borne in: Hertfordshire  

Currently living in: In an English Town 

Nationality: English 

Occupation: Shopkeeper and sole employee 

Hair style: short, smart, and dyed red. 

Build: composed and average build 

Eye colour: brown    

Outfit: Overly festive with the heart of a Christmas Salesman. A flashy yet formal Christmas suit and hat. And of course, a smile. 

Distinguishing features: At this time of year, the Christmas suit 

Accessories:  

Grooming: apart from sporting a twiddle-able moustache, Sam is clean shaven 

Tics: very animated when talking to customers, sometimes it seems like Sam interacts with someone who is not there. 

Health: They seem fine for the most part. However, the stress of running the shop has got to them and their mental health is not too great. They have a lot of intrusive thoughts. Hallucinations even? 

Speech style: quite light and bouncy, some vowels are often held, overly cheerful / Harrybo’s Harry’s. 

Accent: English  

Posture: Smart and upright 

Gestures: animated movements, often exaggerated  

Expressive: expressive arm movements as well as being a pacemaker.  

Fighting style: calm or extreme. Depends on the voices

Weapons of choice: If acceptable then a pack of frozen peas, however as they cannot then their weapon is “kill’em with kindness” 

Special abilities: Patience 

Strengths:  

• Is very resourceful when things go wrong. For example, finding a solution to the shop freezer freezing over. 

• Being reliable and therefore trusted by the local community. 

• Remembers everyone in the town and everything in the shop. 

• Being able to know which of their products are likely to sell out and when. (Potatoes at Christmas) 

• Being able to push their intrusive thoughts aside for the most part. 

Weaknesses:  

• Gullible. 

• Often has intrusive thoughts.  

• Easily distracted and prone to zoning out 

• Hallucinations & Negative Sam 

• Death 

• Death by cat allergies 

Past: Raised by their father Mark Mirage, Sam had an average upbringing. After leaving college Sam in his early twenties moved back in with his father Mark who was suffering from stage 5 cancer. Sam has been running the family shop since. They like the work but not so much the people.  

Childhood: Sam’s mother died shortly after childbirth, so they spent their childhood playing in and around their dad’s shop. Sometimes Sam would even spy another Sam, and they would play and read together. 

Jobs: shopkeeper, Christmas sales worker,  

Regrets: not visiting home and his dad more often 

Hobbies: Reading, baking deserts, mask work and a bit of crochet 

Saddest memory/moment: looking after his father through cancer 

Happiest memory/moment: playing in and around the shop with their father and Negative Sam 

Clearest memory/moment: the first Meeting / Finding of Negative Sam 

Closet skeletons: Negative Sam and the shop’s monthly bills 

Life beats:  

Criminal record: N/A 

Family: to an extent the townspeople 

Friends: Negative Sam

Enemies: The opposing shop across town. 

Perceived as: A hardworking and reliable Skopkeeper. 

Role: unknowing alibi for Mary 

Depends on: The shop and the townspeople 

Optimist or Pessimist: They portray an optimistic outlook; however, they are quite pessimistic about their situation.       

Street-smart or Book-smart: Book-smart 

Introverted or extroverted: they would rather eat cake whilst watching a film or reading a book than running the shop.  

Fave sound: church bells and running streams 

Fave place: The shop back rooms 

Biggest fear: The shop being condemned. 

Wants: to earn money but also want to take a break from the annoying Christmas shoppers. 

Worst flaw: Having intrusive thoughts about others. 

Best quality: The patience to deal with Christmas shoppers. 

Approach power: by diving right in

Approach love: as an akward mess

Approach ambition: with a smile

Approach change: not very well

Sentimental object: The Shop

Pet peeves: How Mary acts like an eternally cheerful Disney princess. It's just too much.

Moral campus: good question... I think they're a bit lost.

Quotes: “a man is only as good as the women next to him”  "Cheesecake won't bring your husband back, fatty!"

Goal: To get through the Christmas season 

Motivation: To earn enough money to relax without having to worry about the shop going under. 

Key moments:  

Sam's Character Portrayal:

Emotional reach: the voice (Harrybos Harrys) of Sam is the main tool used to reach the audience to elicit emotion.

Emotional Recall: When I've working during a busy period.

Given Circumstance: Not applicable. In the context of the play Sam is a joke and a tool to progress the plot by providing an alabi.

Subtext: Sam finds themselves in a phycological dilemma where negative Sam puts forward intrusive thoughts and ideas, leading to Sam's internal struggle.

• Guilt; Mary and Partick both feel guilt in their actions of adultery and murder.

• Murder: Mary Murders Patrick.

• The Supernatural: Through the play ghosts, the afterlife and even the angel of death are described and envisioned.

• Betrayal: Patricks affair and Mary murdering Patrick. Through Patricks inner thoughts it seems Patrick feels betrayed by Mary leading to his affair.

• Toxic Relationships:

Ancient Greek Comedy was a popular and influential form of theatre performed across ancient Greece from the 6th century BCE. The most famous playwrights of the genre were Aristophanes and Menander and their works and those of their contemporaries poked fun at politicians, philosophers, and fellow artists. The works featured happy endings where common, everyday characters who, through the course of the story, elevating their standing.

Greek Tragedies were a popular and influential form of drama performed in theatres across ancient Greece from the late 6th century BCE. Aeschylus, Sophocles, and Euripides were famous playwrites of the time and their performances and work are still prominent today. Exploring themes such as love, loss, pride, the abuse of power as well as the fraught relationships between men and gods.

Greek Satyr.

The Satyr were half man, half beast creatures from Geek mythology. Therefore, Satyr performances were a mix of comedy and tragedy. Cyclops by Euripedes is the only complete play to has stood the test of time whilst others like the Dictyulci (“Net Fishers”) of Aeschylus and the Ichneutae (“Trackers”) of Sophocles are only fragments known from papyrus discoveries.

Born in Stratford-upon-Avon in Warwickshire in 1564, Shakespeare attended grammar school, Married Anne Hathaway in 1582, and left to mighty London around 1590 to work as an actor and playwright. ​Public and critical success quickly followed however, the London playhouses were likely not open from many seasons during certain years where there were severe outbreaks of plague in 1592-93, 1603-04, 1606, and 1608-09. As well as the 1613 fire where the Globe burnt down in under an hour during a performance of King Henry VIII probably didn't help.

• His comedies include: As You Like It, Much Ado About Nothing, A Midsummers Night's Dream, Twelfth Night, The Merry Wives of Windsor, The Comedy of Errors, Love's Labour's Lost, The Tempest and All's Well That Ends Well.

• His Tragedies include: Coriolanus, Macbeth, Othello, Titus Andronicus, Julius Caesar, Romeo and Juliet, Antony and Cleopatra, Hamlet, King Lear and Timon of Athens.

• His Historicals include: Richard II, Richard III, King John, Quite a lot about quite a few Henrys: Henry IV (parts 1 & 2), Henry V, Henry VI (parts 1, 2 & 3) and Henry VIII.

What Shakespeare Actually Wrote About the Plague | The New Yorker

French poet, actor dramatist and theorist, Antonin Artaud proposed the experimental theatre project in 1931. Said to have been inspired by Balinese dancers in the 1930s, Artaud was the first to encourage theater beyond text. He proposed removing the barrier of the stage between performers and audience and producing mythic spectacles that would include verbal incantations, groans and screams, pulsating lighting effects, and oversized stage puppets and props. Artaud further believed confronting the grotesque could liberate a person from the clutches of the strict influence of the civilized. "Without an element of cruelty at the root of every spectacle, theatre is not possible."

The belief that there are no limits to how theatre can stimulate an emotion or how this can be brought about carries over and throughout the Theatre of Cruelty. Theatre of Cruelty characteristics include;

Audience Participation: where not only should the audience be engaged, they should be central to the performance. Actors should invite the audience in through interaction, while the play should use lights and sounds to draw the audience in.

Gestures and Movement: Artaud wanted actors to engage the audience with physical movements and gestures, which were often used to replace text and words. Artaud believed that assaulting one’s senses with movements and gestures (and other aspects) allowed for a greater emotional experience. In this way, combining facial expressions, lights, and sounds helps bring the audience into an experience they can get lost in.

Experimenting with space and staging: Artaud wanted to eliminate the separation of the audience by removing the stage, therefore tearing the walls down and merging the space the actors and audience were in. This was to further enhance the actor and audience relationship and in a literal sense bring them closer together.

Less of a reliance on text: focusing on a combined assault on the senses to immerse the audience in a way that would not be possible using solely, the theatre of cruelty further breaks more barriers between audience and actor.

key characteristics being broad comedy juxtaposed and mixed with horrific and tragic images. Such as characters forced to do meaninglessly repetitive and absurd actions in unflatteringly hopeless situations.

Though through the 60s the theatre of the absurd started to decline through being incorporated into other theatre styles and techniques.

videos, photos and gifs were fab but lacked emotional depth, my og padlet layout was messy and unhelpful, difficult to navigate.

Props and bits for stage design, music, writing, directing,

I didn't change Sam, they were Harrybos Harrys. checked changes with feedback on movement and staging. Suggested props which came after I did Mr back in

Strengths - directable, showed good etiquette, good ideas and concepts, contributed to differing parts of production

weak - confidence in ideas & communicating said ideas, directing, my improv and spontanious ideas were weaker this term. poor time management & Organisation. could of suggested more stuff to push myself out of my comfort zone.

All on board, no communication, getting ideas out and out of our groups

I've learnt... & [need do] -

• i need to be more physical (too much tension & stiffness) [exercise movement to release stress],

• quite the bit on the differing practitioners & I need to manage time more effectivly [pomodoro?, plan study focus & time], confidence & put ideas forwards,

However, this differs slightly with shows such as pantomime where the cast will call upon and expect the audience to respond or even leave their seat to go up on stage. Promenade theatre is similar in how the audience isn't expected to remain seated as they are expected to walk around the performance space instead.

For our 'Mary Christmas, Dead Good Story' I wish to potentially utilise ambigrams and anaglyph art to enhance the poster concepts by giving them an intriguing aesthetic.