I contributed to the development of the performance because I sat as an audience member looking at scene 7 and I gave feedback to Kyra and Helen so that they could move their body towards me because I could only see their backs and I didn’t feel engaged in the scene. In addition, I was thinking that instead of Kyra coming in off stage, she can already be on stage on the rostra so it shows purpose when she moves with the easle. However, tyon and Sashin did really well with their positioning because they gave me eye contact towards the end and I felt like I was part of the group. It also made me realise that in scene 5 I need to stand in a diagonal because my back is towards the audience at the side and Stephen told us that we always need to keep into consideration that we are in a 3D space so we can always feel free to move our position if appropriate for the character and what is going on in the moment.  

In this scene the group of friends are re living the time that when ‘she’ became conscious and as sally I am helping her pack.  My intention in this scene is too make sure the ‘she’ doesn’t see her bruises and what happened to her because we all feel guilty. This is shown clearly when I say “ you can see what you look like, yes? But maybe you shouldn’t, maybe it’s best.” That’s showing that I want to help her but I then realise that it can shatter her because she will think that’s what we did to her and we will have the blame. 

Scene 10: in this scene our intention is to show how amazed we are by her and the hard copies we took of her. Especially my character because when I  say “she is so good at what she does. She has shown at such fantastic galleries. You actually learn from her working her way through those images. Which is a privilege. This shows the audience how much she is valued in some aspects and in others despised. Therefore, it shows the contrast of us feeling guilty and wanting to be forgiven but also deep down we all envy her so much.  

Me and Celine were thinking that for scene 4 we want to keep costume quite casual to convey that we are all exhausted as we have just flown to LA to see ‘she’. So for both female and male we can have them in tracksuit bottoms and a simple plain coloured top. The tracksuit can be either black or grey and the tops can be any colour to show variation and that they all have different personalities. This can also be used for scene 2 because they are In their own houses doing their own thing, so it would make sense for them to be comfy. 

For scene 6: 

Scene six is the hospital scene and this scene needs to be as believable as possible. Kyra would need a doctors jacket, Molly would need a white gown, me and Chloë would need a white clothing to show that we help out the doctor to call in patients. For the rest of the cast on stage they can have casual clothes that they would normally wear, so jeans, T-shirt with logos on them. 

Opening scene: for the opening scene we are walking around the artists and we are mesmerised by the pictures on the walls. My intention in that scene is to show my physicality as sally and also show the relationship I have with ‘she’. In addition, when I’m walking around i walk with a slower pace as we are in an art gallery and with my arms crossed in front of me to show that sally is more reserved. Also, when ‘she’ is walking across the space I look at her with a welcoming smile to show that I am friends with her and I don’t mind her. However, this does change a little bit because of everyone else’s opinion of her does make me think twice, this is shown in scene 4 (because at the beginning I am quite fed up of her energy as it can be quite draining). 

Scene 2: this scene is about a few friends talking on the phone about ‘she’. Most of them don’t like her and talk badly of her and I am the only one who defends her because I give her chance to prove she’s not as bad as everyone thinks she is. My intention is to show my relationship towards ‘she’ in more detail compared to the opening scene. When I’m on the phone I need to react to what the others are saying whilst still doing my movement. But, I need to make it as naturalistic as possible and not make the movements sharp. So, I need to add an element whilst I’m doing the movement to represent my character sally in the clearest way. My idea on this is to touch my hair and and fix it so it makes it natural and   that’s what I’ve noticed people and myself doing, when I’m on the phone I either fiddle with my clothes or fiddle with my hair. So I can incorporate this even if it’s minimalistic it was still make a massive difference for the audience to see our individuality. Moreover, towards the end of this scene me and Kyra were discussing the idea of having a suitcase next to us so that when we leave scene 4 will then make sense that we have gone somewhere else. 

Scene 3: here me and Celine are playing sally, we are both shown suffering and hinting to the audience that we are very weak and possibly won’t last very long. This is shown when she’s being lifted as it represents death. I’m in the background shadowing her to show the audience that we are the same character and it shows how we are suffering together. I also think by having both of us on stage it highlights the importance of it because it will then make sense when me and Celine re appear on stage in later scenes not as Sally but as narrators. (In flashbacks I am shown as Sally). Overall it is important for them to grasp 

what’s going on so they can understand the rest of the play. My intention is to show that I am weak but also show how it got to this so by Molly, Sashin and Helen grabbing on to me and moving me around shows how worn out I am physically and even mentally because I battle with my inner thoughts everyday, as I am an insecure person. I have to keep a blank facial expression to show how worn out and fed up I am.

Scene 4:we have just landed in LA to see ‘she’  but we are all really tired and seeing ‘she’ and her hyper energy will just drain us even more. However, we want to be there to finally see her house and what’s so amazing about it. Some people will act fake towards her because they don’t really like her but they are there because they are curious. Adding on to what I mentioned in scene 2, my intention in scene 4 is to show that I am exhausted because of the flight so by having a suitcase in scene 2 it would make sense why we are tired as it links. Even though i am really tired, I am also really excited to finally see the pool as we have talked about it so much and we have such a high expectation for it. When we are chilling sitting down our facial expressions need to show how appreciative we are to be experiencing being by the pool. My body language can be relaxed, stretching my legs out. 

Scene 5: this scene is the most important one out of the whole play and really summarises what it’s about. ‘She’ goes skinny dipping in the pool with her friends but when she jumps she gets seriously injured. We have made sure that naturalism is incorporated throughout the play but we also want to add in physical theatre. We want to make her fall look really abstract and engaging for the audience to see.There’s a lot going on, on stage and because of this it makes it hectic and reminds me of DV8’s work and we tried adding movements which flow into each other so there’s so much to watch on stage. It also highlights how big of a deal it is her falling as it shapes the play. My intention in this scene is to show how devastated I am for her because I was the only one who gave her a chance. So when I’m looking down at her body I’m completely in shock, and I stand in neutral because I don’t know how to react. When I say my line “you see you flew, yes you reached out your wings and you flew above us and that’s okay, you tried and-“ I say it as if I’m trying to calm myself down and tell myself that it wasn’t my fault and we’re not guilty of this. I say it in a soft tone but towards the end of the sentence I speed up my words to show that I care and in a way can’t believe this is happening. 

Scene 6: this is the hospital scene, where ‘she’ is in. My intention in this scene is to be a porter and have a direct pathway to get the hospital bed and move it around and get the drip to put next to it. When I’m walking I need to be confident and be welcoming. This links to when I’m taking Celine and Sashin to see the doctor I am friendly and by using my gestures I show them the way. Even though I’m not saying anything, I can show my character by my presence on stage, by having confidence and having my posture straight and my head up. 

Scene 9: ‘she’ has become conscious and she’s ready to leave the hospital. My intention is to help ‘she’ pack her clothes to leave. When I say my line “you can see what you look like, yes? But maybe you shouldn’t, maybe it’s best.” I un button her hospital gown trying to help her and then I realise that she shouldn’t see her bruises because it makes me feel guilty for it as if it was my fault. But I still want to comfort her and make her feel better so I know that if she sees it she will feel awful. To make it more naturalistic when I’m on stage with her is to fix my hair and look at my nails because little things like that bring the scene to life and makes it look more natural and also helps me develop my character more because adding everyday gestures will make it look more realistic. In addition, I need to look at the punctuation in the text and see when to add pauses and what’s the intention behind every word because this will then help with the delivery of my lines. 

Scene 10: in this scene ‘She’ is getting the photos that her friends took of her and she says she loves them but secretly she hates them and feels betrayed. My intention in this scene is to support her from the hospital to her house. So me and molly walk around the space with a direct pathway. Firstly, she’s shown as being healthy and then it transitions to her being unsteady and weak. Also, when I say my line “come on to bed to rest that’s what you need it’s all so much you need to rest.” I say it in a caring way but also in a demanding tone because I want her to feel better especially after all she’s been through. Lastly, in the party scene we need to show the energy escalating. When Tyon gets me and spins me around it then boosts me to run to Sashin and for us to do our movement. The intention behind these movements is to show that it’s a party and because we are all using drugs, it makes us act differently and this is clear through the abstract movement. 

The feedback I got from Chloë today is to Improve our physicality in the opening scene and to make sure to continue it throughout the scene. Moreover, in scene 2 we need to react more to the conversation on the phone whilst doing the movement because it looks very staged and not as naturalistic as we want it to be. We also need to remember to be informal as we are a group of friends talking about ‘she’. Similarly, to what was mentioned before the movement looks sharp and staged so we need to relax more and add in gestures to make it different and show our individual characters and how they would act in their home. What I did well was reacting to Stephen when he says his line because my line is “no no no no no” so I show this with my facial expression but I need to do this more throughout the scene. Lastly, in scene 6 when walking on and off of stage communicate quietly to make it naturalistic as that’s what porters would do when walking together. 

Today we worked on scene 10 and when I was walking Molly across my space my objective was to make sure she was okay and to take her to a taxi. My relationship with ‘she’ until this point has been obvious I care for her but i think in this scene i physicalise how I feel about her very clearly. Moreover, in the party scene we still keep the idea of it being naturalistic and is having a good time and getting high but we change it into a way that’s abstract and random because when your in that atmosphere, your behaviour and even how you see others change. Therefore, we wanted to make this scene exciting and engaging for the audience to think that this is the big lead up to the end so we have to exaggerate our movement. Even though my movement with Sashin was awkward, we still need to do it with full commitment because I know the purpose behind it is to convey an atmosphere that all our emotions are heightened at this point. 

Sabrina’s costume: blue jeans with stretch, colourful top (pink), trainers, hospital gown (when needed), small hoop or stud earrings, natural makeup (mascara and lip gloss), and hair in half up half down. 

Celine’s costume: dungarees with a bright colour top underneath, trainers, hospital gown (when needed), small hoop earrings, natural makeup (mascara and lip gloss) and hair in half up half down. 

Stephen’s costume: black jeans with a grey/blue T-shirt and trainers. 

Piotr’s costume: blue/black jeans with a coloured T-shirt, and trainers. 

Chloe L’s costume: blue jeans with stretch, blue top, white trainers, hoop earrings, mascara and nude lipstick, and hair tied up.

Zach’s costume: black/blue jeans with a coloured T-shirt, and trainers. 

Helen’s costume: blue jeans with stretch, blue top, trainers, stud earrings, mascara and nude lipstick, and hair down. 

Chloë’s costume: blue jeans, coloured top trainers, hoop earrings, mascara, eyeliner and lipgloss, and hair half up half down braided. 

Tyon’s costume: black jeans, blue T-shirt, and trainers. 

Sashin’s costume: blue jeans, coloured plain t-shirt, and trainers. 

Zeba’s costume: blue jeans, blue top, trainers, stud earrings, mascara, lipgloss and hair down. 

Aaron’s costume: blue jeans, coloured T-shirt and trainers. 

Chaimaa’s costume: blue jeans, coloured top, trainers, mascara, nude lipstick and hair up. 

Kyra’s costume: black jeans, blue top, trainers, mascara, eyeliner, bold lipstick and half up half down hair. 

Molly’s costume: a white flowy dress (with white shorts underneath), pumps, mascara and lipgloss, and hair half up half down. 

Me and Celine have decided on everyone wearing these outfits because we want it to be realistic, and also comfortable for them to do movement in. Also, I’ve changed a few things like accessories and makeup so that every person has something that resembles there character. Lastly, I decided to put some people with blue tops to represent the pool but not make it too obvious by putting everyone in it. 

Line: “no, no, no, no, she’s always been a very moral person. She’s always had a strict code of morals.”

What I will do? When saying this line i will have a faster pace but articulate more. 

Justification/why? This is because my intention when saying this line is to defend ‘she’ when I’m talking to my friends. Also, I need to articulate more because when I speak fast my words tend to not be as clear. 

Line: “good to” 

 

What will I do? When I say this line my pitch will become higher. 

Justification/why? The reason behind my pitch getting higher is because I’m really excited to see ‘She’ and be in her house for the first time. 

Line: “you see you flew, yes you reached out your wings and you flew above us, and that’s okay, you tried and-“ 

What will I do? I will say it in a caring tone and as if I’m trying to reassure ‘she’. 

Justification/why? I will do this because my character is the only one who really likes ‘She’ so when I see her in that state, I try to convince myself that it’s okay. 

Line: “you can see what you look like, yes? But maybe you shouldn’t, maybe it’s best.”

What will I do? I’ll start off my saying it in a gentle tone and then I will pause and change to a quicker pace. 

Justification/why? My train of thought changes because I don’t want her to see her wounds so by saying it in a quicker tone this shows the audience my change of thought. 

Line: “She is so good at what she does, she has shown at such fantastic galleries, you really learn from the way she works, which is such a privilege.”

What will I do? I will say this in a slower pace to really emphasise what I’m saying. I will also say it in a proud tone. 

Justification/why? In this scene I’m really proud of ‘She’ for her attitude towards the hard copies. 

During the full run through we had our teacher gave us feedback for each scene. My feedback in the opening scene is to walk around the easel and run off stage because this adds to the pace and helps bring life on stage. Also, thinking about Laban style we have a direct pathway to run to. In addition, scene 2 i need to answer the phone after the ringing rings twice. In scene 3 I need to widen my stance so it can allow me to be moved around. To improve the movement I can twist my body so this allows me to react when moving and it flows naturally. Moreover, in scene 4 I need to position myself in a diagonal when I’m sitting down because I need to make sure all three sides of the audience can see me. In scene 9 we have cut the idea of having a drip in the hospital so I won’t be needing to move the easel next to the bed. This is better  for me because it allows me to have a clear direct pathway, as I’m going from the bed off stage. In scene 9 there was a problem with where to put the hospital gown after I take it off Molly to walk around the stage. The solution for this is to leave it on stage and Kyra will be walking around us anyway so she can get it and take it off. Lastly, the song scene is now changed, so when i enter instead of coming in with Aaron and Piotr I will be alone at the back because this will make sense to the audience as I’m Sally. Also, we have put back the movement with our hands when we are walking around the singers because the detail it adds is more engaging to watch especially because it’s when ‘she’ falls in the pool the song builds up the tension.