Step1: Character, I choose to play-Jess

Step2: The scene I picked

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Step3:

Why would you like to audition for this role?

I went for this character   because jess is an carefree soul and she goes with the flow  and I wanted to challenge myself as she different from myself and love to do drugs  and there was a scene when they have pills when they realized it was Mentos and she doesn’t care.

What is happening in the scene?

In this scene Jess talks about the deaths rumours about how a group of Russians all died while camping in the mountains .

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

We went up one by one, and if we needed someone to fill in for you would pick someone to speak for you so you could respond as your character. We would have to say our name and who we wanted to audition for, and then we would perform.

Who is Josh Azouz?

Josh Azouz is an award-winning writer working across stage, screen and radio. His work has been shown in the UK and across the US.

Plays include: 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), 10,000 Smarties (Old Fire Station). TV includes: The Night After, BBC 4, The Box (MGM/NENT). Josh won a Channel 4 playwright award for Buggy Baby. The LA Theatre Works production of Once Upon A Time In Nazi Occupied Tunisia was nominated for best audio drama at The Audies. In addition to writing, Josh works as a theatre director, teacher and has been an associate artist at the Yard Theatre and MUJU (A Muslim-Jewish theatre company).

Josh is writing a feature film for UFA Studios and a feature for MMXX films. He is under commission for new plays to the Almeida & Yard.

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Had great comic timing and showed real compassion in the situation – their character's efforts to provide light relief (in the form of illegal drugs) went wrong when it transpired that Jess had bought mint sweets.

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 delivered perfectly.

Alcoholism:

Teenagers and young adults to experiment, test boundaries and take some risks. Drinking alcohol and trying drugs is one way some young people do this. It is common for teenagers to drink alcohol at some point. A smaller number of young people will try illegal drugs, or smoke cigarettes or e-cigarettes (often called ‘vaping’).

A teenager or young adult might drink alcohol or take drugs for different reasons.

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Theatre practitioners, drama and theatre students, and educationists alike would not give precise definitions of words without racking their brains. That is because the words are used synonymously depending on the context in which it is used. Often time when people hear the word “drama”, they automatically think about performance: a representation of an action before a group of people for entertainment and probably enlightenment. Others will think about Aristotle's poetics and his explication of drama's nature, elements and purpose. The layman's thoughts will probably tilt towards the act of play-making, acting a play or the act of make-believe for pleasure.

Drama is an ancient Greek word meaning “act” or “deed”, coined by the Ancient Greek philosopher Aristotle in his Poetics, where the term drama culled from, classified different forms of poetry according to basic features he thought could be commonly recognised in their composition. He used the term “drama” to describe poetic compositions that were “acted” in front of audiences in a theatron and theatre.

Who is Hannah Hauer-King?

She is Olivier Olivier-nominated and award-winning director and dramaturg, with a focus on new writing, plays with songs, musicals and work focused on the female or LGBTQ+ experience.

What theatre companies has she worked with?

Resident Director at the National Theatre Studio in 2024, but before the National Theatre. London Soho Theatre, which recently produced a sell-out show, The Ministry Of Lesbian Affairs at Soho Theatre. But when she joined the National Theatre, the Brief Life and Mysterious Death of Boris III, King of Bulgaria, won the Offie Award for Best Ensemble.

What is she known for?

As a director and dramaturg, with a focus on new writing and work centered around the female and queer experience. She is Artistic Director for the theatre company Damsel Productions and who recently co-produced the sell-out show The Ministry of Lesbian Affairs at Soho Theatre.

What awards has she received? 

Hannah is an Olivier-nominated and award-winning director and dramaturg, with a focus on new writing, plays with songs, musicals and work focused on the female or LGBTQ+ experience.

The role of a Choreographer: Research

You'll need a high level of dancing ability, the patience to teach others and to know what looks good to a wider audience, as well as the communication skills needed to make sure that your directions are coming across clearly to your dancers.

The most successful choreographers run whole shows by themselves, playing out storylines and themes through meticulous planning of dances, costumes, music and visuals, to engage the audience. Choreographers often run their own dance schools, which also involves balancing their own accounts and managing costs.

Types of choreography

Choreographers usually specialise in one style of dance, such as:

• classical ballet

• contemporary dance forms such as jazz, hip-hop, street or freestyle

• musical theatre

• ballroom and Latin American, such as salsa

• highland or Scottish country (ceilidh) dancing

• cultural, such as Irish, Indian, African or belly dancing

• ice dancing

• disability dance.

Responsibilities

Depending on your area of specialism, you'll need to:

• develop ideas and create and develop routines to produce a well-polished performance

• plan movements to fit to music, guided by artistic and musical directors

• discuss ideas and plans with producers, costume designers, and musical and artistic directors

• choose music suitable for the concept or subject you have been tasked with

• audition, teach and rehearse dancers

• for some forms of dance, you may be required to record the steps using a notation system, such as Labanotation or Benesh

• work with other professionals to choreograph fight scenes or theatrical stunts

• be able to work on more than one show at a time

• meet regularly with producers, musical and artistic directors, and costume designers.

  
  

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.

In today’s lesson we where in the college had 30 mins due to us having to watch the level 3 performance. because I wasn’t in this piece so the rest of the class tries to decide on a sound for our party sone but we didn't pick one in the end. Basically all of us was confused what to do because we didn't know what scene we was partying and nobody was really giving Ideas: But the performance we watch was good, powerful and Fun

• Famous five

• Secret seven

• Noddy

And another 600 books.

Enid was not a liked author as Blyton made a clear distinction between men and women and assigned rigid societal roles to both, and Enid's books are often criticised for their problematic views, including racism, xenophobia, and sexism. These criticisms have led to a negative perception of her and her work, particularly in light of post-World War II societal changes. 

In the play, she was mentioned by Kiara as her character is straightforward in this play, and it shows she doesn't stand for anything she doesn't like, as her friend Ricky asks her out in an awkward way and which made her uncomfortable.

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Recent scientific studies have provided a more detailed explanation. Research by Johan Gaume and Alexander Puzrin has shown that a slab avalanche, triggered by katabatic winds and the cold, dense air flowing downhill, could have struck the hikers' campsite.

These winds likely caused snow to accumulate above the tent, creating conditions for a delayed avalanche hours after the hikers had set up camp. This avalanche could explain both the hikers' sudden flight from the tent and the severe injuries sustained by some, which were consistent with those caused by an avalanche.

The Dyatlov Pass incident remained an undiscovered mystery, with ongoing debates and investigations attempting to unravel the full story behind the hikers' tragic deaths.

(Some of the research copied by Chat GPT)

• Name: Noush 

• Age:18 

• Gender: female  

• Date of Birth: 2 Jan 2007 

• Nationality or ethnicity: Rausin  

• Physical Appearance: 

• Height: 5,4 

• Build (slender, athletic, etc.):chubby  

• Hair color and style: red and black  

• Eye color: brown  

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

• Background: 

• Place of Birth: London  

• Family background (parents, siblings, etc.): horrible parents who's stricked

• Education: Sixth form St Luis  

• Early life experiences that have shaped the character: went back to home country and discovered her root  

• Personality Traits: 

• Describe the character's personality in a few words (e.g., introverted, passionate, stubborn, etc.): Over dramatic and calming  

• Strengths: keeping people close to her  

• Weaknesses: family  

• Quirks or habits: Trys everything to hide her pain of her feelings  

• Motivations and Goals: 

• What motivates this character within the context of the drama? Drugs that she try's to make her and believe it just mint 

• Short-term and long-term goals: finish school then go to India on a retreat to cleanse her. 

• Role in the Drama: 

• Protagonist, antagonist, supporting character, etc. 

• How do they fit into the overall plot? She helps someone she knows to keep away from hyperferremia she has a kind heart  

• Relationships: 

• Describe their relationships with other characters in the drama. 

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

• Conflict and Drama-Specific Background: 

• What central conflicts or dilemmas do they face within the drama's storyline?Noush runs away from her stricked alcoholic parents  

• Past events or secrets that influence their actions and decisions in the drama. Yes as Noush take drugs to hide her pain 

• Dialogue and Speech Patterns: 

• Describe their way of speaking, tone, and vocabulary. Outgoing and calming  

• Do they have any unique speech patterns or catchphrases? No 

• Costumes and Appearance Changes: 

• Describe how the character's appearance changes, if at all, during the drama. She warms up and gets friendly  

• Consider how this reflects their development. She gets closer to Marco  

• Backstory: 

• Any significant events from the character's past that are relevant to the drama's plot or their motivations. Her alcoholic parents  

• Emotional Journey: 

• Outline the character's emotional journey throughout the drama, from the beginning to the end. In the beginning Shes closed off and at the end Shes more loose  

• Triggers and Vulnerabilities: 

• What events or situations trigger strong emotional responses in this character? If she doesn't get time alone  

• What are their vulnerabilities or fears? She is afraid of Bears 

• Character's Fate: 

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

She helps Marco overcome his fears and realise how selfish he's being to his friends  

Scene 1: celebration of fishing school and then being on a camping trip and Marco getting kicked out  

Scene 2: Cut Dog seen. Karia and Ricky try to blow up the bed and Ricky trying to flirt with Kiara 

Scene 3: Carl, Ricky, Jess, Tamer and Kiara back at the fire. Carl, Tamer and Jess come back from Tesco’s with fruit. Tamer kills rabbit and Jess get drugs acid 

Scene 4: The drugs are not acid it mentos Jess was scammed. Catlin and Alshey  people they know from school come back from hike and Catlin interduce Alshey as she comes to Brazil and don’t speak English then they leave carl gives mento. Movement the party to head, shoulder and knees and toes by KIG Tam says She going to look for Marco. 

Scene 5: Marco runs into Noush how helps him as he suffers from hypothermia. Then realized the came from the same school and she was camping not far from the rest from his friends. Noush explains why she is camping alone and why she doesn’t like her parents and why she’s going to try and save her brother. 

Scene 6: Ricky and Carl and Kiara talked about Tam looking for Marco. Kiara and Carl are going to bed. Ricky and Jess talked about everyone moving on and were upset that Tam was looking for Marco. 

Scene 7: Tam comes back. Tam couldn’t find Marcoa Jess and Tam talk about how bad a friend Marco is, and Tam kept defending him.  Jess figures out Tam has feelings for Marco. 

Scene 8: Marco tells Noush thing about his friend what make her think he doesn't like his friends and explains Kiara and him kissed and how he feels about it. And Noush put him in his place about how he and his friends are problematic. Marco thinking Noush is suicidal because Shes alone and she has no one. 

Scene 9: Noush give Marco tea well drugs to let him calm down. And he goes crazy movement seen and think he's seen the moth. Get scared because he seen the moth and Noush wouldn’t explain where and why he seen and found Noush crazy. Marco comes back in the middle of the night and creeps around and fight Ricky off and pushes him off the cliff. 

End 

Measurable: Go to very class and practise with someone by them reading in and hold your script way from you to as it all up to you to memorise 

Achievable: Spend every day for 2 and 3 hours reading and saying it out loud  

Relevant: Developing memories skills as learning line all come up to the brain and remembering as the audiences don’t know the script only you, they can’t feed you the leans  

Time-bound:10^th march-14^th April 

Specific: QUES and timing  

Measurable: when rehashing makes sure you know when you're on and be knowing where you are. 

Achievable: go over and over the times of being on the stage so it wouldn’t change the time of the performance and so there's on award silents  

Relevant: Developing being on time and paces  

Time-bound:12^th april-15april 

Specific: Voice volume  

Measurable: Attending very lesson to practise be I must be loud to let my voice travel 

Achievable: Doing voice warmups to not sterane my voice as the vice is diligent 

Relevant: developing the tone of voice as it important as your body when it comes to acting  

Time-bound:10^th march -April 10th 

When applying for jobs in the performance art industry, when it comes to theatre, the voice, movement, improvisation, and use of space.

VOICE: The voice tells us so much about a person. Where they come from, their personality and how they’re feeling.

MOVEMENT: The business of movement on stage is about moving your body effectively. You need to think about position, scale and the amount of movement that’s convincing. Movements also need to be done with others on stage.

SPACE: The first thing you have to do is identify the shape and nature of your performance space or stage. This is going to make a big difference to the way you perform. WHAT WOULD YOU NEED?

• Confidence and communication skills

• Essential technical skills

• Choreographer: An Understanding of Aesthetics, Leadership, people skills and Creativity

• Lighting technician:

  -Ability to work under pressure to tight deadlines

  -Good communicator

  -Excellent colour vision

  -The ability to turn an idea, concept or mood into lighting

• Sound technician: To be successful, the professional Sound Designer must have a huge array of creative and technical skill sets

• Theatre director: Theatre directors have responsibility for the practical and creative interpretation of a dramatic script or musical score.

  You'll be involved in the whole process, from the design and pre-production stages, right through to the final performance.

• Theatre manager: coordinates all aspects of a production from the rehearsals right through to the final performance, ensuring the smooth and safe running of the show

  And to have the skills to make a show, but the more that help it come to life, too.

  The way I used this in are play is as I'm the choreographer of the class, and to be on,e you used the skills and be one you can't be shy or in a bubble to let you dance or movement to work

  
  

  
  

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The title reflects KISS: the triangle between Kiara, Carl and Marco. MARRY: Kiara and Carl's relationship. PUSH OFF CLIFF: reaches the end of the play when Marco pushes Ricky.

Characters and Performance put in practical skills and presentation?

Name: Noush(Anoushka)

WHAT DO THEY WANT: Their goal in life is to leave their parents and rescue their brothers from their alcoholism.

WHAT IS GETTING IN THE WAY: Her parents as to get custody is hard, especially for someone who's just 18

HOW DO YOU ACT AS YOUR CHARACTER:

I act out space and clam, and I answer questions with questions, so my character is confusing .

This play it's fun and surprising with the end, and it lets you explore different personalities.

COSTUME: white skirt, African nighting gown and with scarf for my head and brown slipper.

Konstantin Stanislavski was a pioneering Russian actor, director, and producer, best known for developing the Stanislavski system, which revolutionised modern acting techniques.

WHY IS HE IMPORTANT IN THE ACTING WORLD?

Konstantin Stanislavski is a pivotal figure in modern theatre, known for revolutionising acting techniques and establishing a system that emphasises psychological realism and emotional depth in performances.

HOW DID HE CHANGE THE THEATER WORLD?

Brimming with energy and ideas, Stanislavsky was a brilliant actor who preferred to portray two-dimensional characters undergoing major transformations. To help himself, Stanislavsky developed his dramatic training method, widely known as the “Stanislavsky” system.

WHAT IS STANISLAWSKI'S SYSTEME?

The Stanislavski System is a method of acting developed by Konstantin Stanislavski that focuses on training actors to create believable performances. It emphasises techniques such as emotion memory, concentration, and observation, allowing actors to draw on their own experiences to portray characters authentically. The system has laid the groundwork for modern acting methods, including "Method Acting," and includes seven essential techniques that help actors develop their craft.

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Michael Chekhov was a Russian-American actor, director, author, and theatre practitioner. He was born in St. Petersburg, Russia, in 1891 and was a nephew of the playwright Anton Chekhov. Chekhov was a student of Konstantin Stanislavski and created one of the most challenging and inspiring acting theories of the twentieth century. He earned himself an Oscar nomination and made a career in Hollywood.

WHY IS HE IMPORTANT TO THE ACTING WORLD?

Chekhov studied under the Russian theatre practitioner Konstantin Stanislavski at the First Studio, where he acted, directed, and studied Stanislavski's 'system'. He was also influenced in his creative development as an actor by Yevgeny Vakhtangov and Leopold Sulerzhitsky. In 1922, after the death of Vakhtangov, Chekhov became director of the First Studio, which was subsequently renamed Moscow Art Theatre II.

WHAT IS THE MICHAEL CHEKHOVE TECHNIQUE?

The Michael Chekhov technique is a psycho-physical approach to acting that emphasises the connection between mind and body. It encourages actors to ground their emotions in physical gestures, allowing for greater creativity and presence on stage. Chekhov's method respects the actor as a free creative artist, focusing on developing artistic feelings without relying on personal memories.

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Sanford Meisner was an American actor and acting teacher who developed an approach to acting instruction that is now known as the Meisner technique. He taught acting for over 60 years and was one of the original members of the legendary Group Theatre.

WHY IS HE IMPORTANT TO THE ACTING WORLD?

Sanford Meisner was an actor and one of the most influential teachers of acting in the United States after World War II (1939–45). Building on the method of acting popularised by Konstantin Stanislavsky, Meisner developed what became known as the Meisner technique.

WHAT IS THE MEISNER TECHNIQUE?

The Meisner Technique is an approach to acting that theatre actor and acting teacher Sanford Meisner developed. The Meisner approach to acting emphasises three elements: emotional preparation, repetition exercises, and improvisation. The Meisner Technique aims to connect actors with their scene partners and instinctively respond to stimuli.

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