Jess was a character that stood out to me because she was a girl that was a talkative, bubbly, outgoing and very to herself which is me as a person in real life. Knowing that I had to audition for the character Jess i was extremely excited and confident that i would be able to put my full effort in whilst practicing my lines.

Dramatic theatre is when a play tells a story that feels real and emotional. It usually has characters going through some kind of struggle or conflict, and we watch how they deal with it. The story is clear and often has a beginning, middle, and end. It’s the kind of theatre that makes you feel something- whether its’s sadness, tension, laughter, or connection. 

It’s’ all about people, emotions, and situations that we can understand or relate to. The characters speak(mostly through dialogue), and the audience gets to see how things change for them by the end. It doesn’t have to super realistic, but it usually tries to say something meaningful about life or human nature.

Key Characteristics:

• Mimetic:

  Dramatic theatre seeks to imitate real-life situations and human behavior. 

• Totalizing:

  It creates a complete and believable world, complete with characters and plot, encouraging the audience to suspend disbelief. 

• Linear Narrative:

  Events follow a chronological order, leading to a clear beginning, middle, and end. 

• Emotional Engagement:

  Dramatic theatre aims to create a strong emotional connection between the audience and the characters and story. 

• Character-Driven:

  Characters are often well-defined, with specific backgrounds, desires, and motivations. 

• Closed Logic:

  The events in the story are explained and have a clear purpose, even if the narrative jumps in time or location. 

Examples of Dramatic Theatre:

• Shakespearean plays:

  Works like "Hamlet" and "Romeo and Juliet" are classic examples of dramatic theatre, featuring complex characters, emotional narratives, and a clear story arc. 

• Realistic drama:

  Plays like "A Streetcar Named Desire" by Tennessee Williams, which focus on portraying real-life situations and character interactions, are also considered dramatic theatre. 

• Modern plays:

  Many contemporary plays, including those exploring social issues and personal relationships, still rely on the conventions of dramatic theatre. 

Biography

Josh Azouz is a British playwright born and raised in London, where he cultivated a deep

interest in theatre and the arts. The vibrant and diverse cultural landscape of the city

has significantly influenced his work, often serving as both a backdrop and source of

inspiration for his plays. Azouz’s writing is deeply rooted in personal experience and

keen social observation, with recurring themes of identity, human connection, and the

complexities of contemporary life. His distinctive voice and thought-provoking

storytelling have made him a compelling figure in modern British theatre.

He went on to study at the University of East Anglia (UEA), where he did a master's in

creative writing. UEA’s strong focus on the arts gave him space to really explore his

voice as a writer and dive deeper into storytelling. That time played a big role in how his

writing developed and in the kind of theatre he creates today. Azouz’s education also

influenced his ability to blend complex themes with strikingly original language, and he

has since become known for his work in contemporary theatre. His writing often

reflects his deep engagement with literary traditions while pushing boundaries to

explore fresh perspectives and innovative forms of storytelling.

Azouz’s work tends to blend personal experience with sharp observation. His plays are

often bold, sometimes darkly funny, and always interested in what makes people tick.

He continues to be a distinctive voice in British theatre, telling stories that feel fresh,

honest, and deeply human.

Some significant life and experiences that josh has experienced are the following:

• Began his career with “The Mivkah project” which premiered at the Yard Theatre

in London 2015

• In 2018, Azouz’s “Buggy Baby” premiered at the yard theatre. This surreal horror-

comedy addresses themes of migration, PTSD, and identity through the lens of a

young refugee family in London.

• Azouz’s work has been recognized with various awards and nominations,

including a nomination for Best Audio Drama at The Audis for the radio

adaptation of “Once Upon a Time in Nazi Occupied Tunisia”

Career and Work:

1. “Gigi & Dar” at the Arcola Theatre. The play portrays two young soldiers at a

roadblock, blending elements of Greek tragedy with contemporary humou

Scene 1: All the characters are deciding who's going to tell Marco to leave as they feel offended by what he has said. 

Scene 2: Kiara and Ricky pumping up the mattress waiting for tamer to get back from looking for Marco. Alish and Chris join the campfire and tell their stories. The group find out that the drugs are mentos. 

Scene 3: Marco is suffering from hypothermia and is about to take his clothes off but then Anoushka comes running to him and tells him to stop. They have a conversation and catch up with each other. 

Scene 4: Ricky, Jess, Kiara and carl are all huddled under an umbrella. Carl wants to leave and drive home. Tams been gone for 3 hours. Jess suggests going to look for Tam. Jess becomes very sensitive to the fact that Marco is gone. Jess and ricky have a little disagreement.  

Scene 5: Noush talks about Marcos friends of how they are not good people. They also talk about the location Beachy Head. Then Marco thinks Noush is going to kill herself and tries to stop her. 

Scene 6: Was taken out.

Scene 7:  Noush gives marco a tea and it makes him hallucinate and sees this big moth appear. Then proceeds to get upset with Noush because he wants to know what's in the tea. Noush explains that Marco is seeing his inner self. They discuss what's real and what's not real. 

Scene 8: The group sit on blankest, ricky plays the ucalaly and jess, tamer and kiara listen and sing. They are wrapping up their camping stuff. They are questioning who's going to drop off Marcos's tent. Jess tells a a story about a group of Russian students that go camping and go missing.

Scene 9: Ricky, Jess and tamer are all sleeping and Marco makes a return and goes and troubles Ricky in his sleeping bag to the point where he starts rolling towards the cliff.

In this scene we started off with a campfire starting in the middle of the stage with all characters besides Marco huddled backstage, whilst Marco is at the front sleeping on in his sleeping bag. we had come up with the starting successfully which made it easier for us to move onto the next scene.

One of the strengths was how effectively we used the space and showed emotional shifts through our movements, which made the scenes more captivating and clearer for the audience to follow.

We could improve by keeping our energy levels steady throughout each scene and ensuring that every movement has a clear purpose, so the story remains strong and understandable without relying on dialogue.

Despite the nerves, I was also incredibly excited to perform at 7 pm, as it was a huge opportunity to showcase my abilities. It made the moment even more special knowing that my mum, brother, and close friends were there to watch me, which filled me with pride.

Wearing my costume and fully getting into character helped me concentrate and feel more connected to the performance. Once I was on stage, much of the stress and doubt began to disappear. My lines flowed more smoothly than I had anticipated, and I was able to stay in the moment, respond naturally, and feed off the energy of the other actors. The audience’s reactions — whether their quiet attention or laughter at the right times — gave me a huge boost.

As the performance continued, I grew more at ease and even began to have fun. It reminded me why I love performing—the rush of adrenaline, the teamwork, and the satisfaction that comes from successfully tackling something difficult. By the end of the day, I felt proud of what I had accomplished. It went better than I could have imagined and showed me that even when things don’t go perfectly, I can handle the pressure and deliver a strong performance. The day pushed me beyond my comfort zone but also helped me grow as a performer and boosted my confidence imagined and showed me that even when things don’t go perfectly, I can handle the pressure and deliver a strong performance.

Bertrolt Brecth 

   Style: Epic Theatre 

Famous for: Wanting the audience to think instead of just feel.  

• Brecht believed theatre should challenge peiple and make them questions society, politics, and the world around them.  

• He didn’t want audiences to get lost in the story- instead, he used techniques like breaking the fourth wall, using signs or projections, and reminding the audience they were watching a play 

• One of his famous ideas was the “Verfremdungseffekt” (alienation effect)- a way to stop the audience from getting to emotionally attached so they could think more critically about.  

Style: Naturalism/Realism 

Famous for: Helping actors create believable, truthful performances. 

• Stanislavski’s methods focused on actors connecting deeply with their characters-understanding their emotions, background, and motivations  

• He encouraged the use of “emotion meme org” (recalling real- life experiences to bring truth to a role) and asking, “What would I do if I were in this situation?” 

• His work influenced modern acting techniques and is the foundation for method acting.  

I really believe "Kiss, Marry, Push Off Cliff" is the perfect title for the play. It captures the essence of all the emotions and relationships explored. "Kiss" represents the kiss between Marco and Kiara, and also the dynamic between Carl and Kiara. "Marry" obviously refers to the relationship of Carl and Kiara. Lastly, "Push Off Cliff" is like a symbolic ending for Ricky, suggesting he's being pushed out of the picture.

In terms of the planning and production, scene 4, the umbrella scene, was a blast to perform and really funny. The tension and feelings between Ricky and Jess during their argument came across well, and the lines made it super comedic. It was definitely a fun scene to act out.

Augusto Boal's theory centers around the use of interactive theatre, particularly his Theatre of the Oppressed, to empower individuals and communities to address and overcome oppression. He believed that theatre could be a tool for liberation and transformation, encouraging audiences to become active participants in understanding and resolving issues of power and inequality.

Born: 11 august 1897

Died: Dies: 28 Hampstead, London

Children: Imogen Mary Smallwood, Gillian Baverstock

Tv shows: The Famous Five, Make Way for Noddy, Noddy: Toyland Detective, Famous 5: On the Case, Readers and Writers

Enid 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 to write stories and poems while working as a teacher and a governess.

In the future I do see myself doing this role as I am a highly creative person, and I love to make things from a sketch to real life. I also enjoy making clothes, making designs and I am incredibly open to different ideas to help the costume come out even better. I love communicating which is a big skill needed for costume designers.

Hannah Hauer-King is a London-based theatre director born in April 1991, making her 34 years old as of June 2025 and dramaturg known for her work focusing on new writing, musicals, and narratives centered on female and LGBTQ+ experiences. She is the co-founder and Artistic Director of Damsel Productions, an all-women theatre company dedicated to bringing women's stories to the stage with all-female creative teams .

She began her career as Resident Assistant Director at Soho Theatre in 2014. Since then, she has directed productions at notable venues including Soho Theatre, Kiln Theatre, Shakespeare’s Globe, Southwark Playhouse, Traverse Theatre, and Theatre503.

Beyond directing, Hauer-King is an advocate for diversity and inclusion in theatre. She has supported initiatives such as the Soho Young Writer’s Lab and has served as a reader for the Verity Bargate Award, the National Theatre's script reading panel, and the Women's Playwriting Prize .