Single - Applying Acting Styles - Blog 10 - 30/09/16

Today we began work on our new acting style: Naturalism.

We started off by watching a powerpoint outlining the key conventions of Naturalism and they are as follows:

• Emotional memory - linking a characters emotions to a time when they felt the same.
• Method of physical actions - changes in the way you act based on the context of the scene and the feelings of the character.
• Subtext - searching for hidden meanings behind what a character is saying; it's not what they're saying, but how they say it.
• Given circumstances - the facts that the play give.
• "If" - Searching through the subtext, and making assumptions on the characters, always thinking "What if..."
• Objective - What the intention of your character is for every line.
• Super-objective - What the intention of your character is throughout the entire scene.
• Through line - the actions which link each objective together.

We then went on to read through the script in our characters and then made annotations on our script, listing all of the Given Circumstances. Below are the given circumstances we found:

• Tanya and Deon are dating
• Tanya and Miles are siblings and are the only British out of the group of South Africans
• Luke and Rosie are the only ones in the group who are 100% supportive of the bombings
• Rosie is the only one who knows Skeets
• Sal lost her accent South African accent

Triple - Musical Theatre Unit (RENT) - Blog 4 - 29/09/16

Today, we worked some more on Seasons of Love adding movement to the piece and perfecting what we already had and then looked over Rent quickly to know which bits we each sing.

For Seasons of Love we felt it was far too boring to just sing the song in a line, so we decided to choreograph a walk in and have us walk into the line progressively. We also had each soloist step out for every solo.

Below is how we staged our scene:

• During the beginning instrumental, we all walk in sporadically and stand some distance from where we end in our line, facing slightly diagonally.
• During the, "In daylights, in sunsets...." verse, we progressively walk to our position in the line. We stay in this line for the remainder of the number.
• For each solo, the soloist steps forwards and sings their section (e.g. Taylor steps forward to sing, "...journey's to plan, then steps back into the line.) When Henri and Lorna finish singing their section, Henri steps back twice and the rest of us in line walk towards him creating the space for him to step back into. As soon as we're in line we stop.
• During Lorna's solo, she stands at an angle and gestures towards us then steps back into the line at the end.

After a few runthroughs, we feel that Seasons of Love is pretty much ready. We then went on to listen to Rent a couple of times and then singalong to get a feel of which parts our characters sing. With Collins' section, I wanted to perform it very similar to way it's performed in the movie version as in the Original Broadway recording, Collins' voice sounds much higher and I feel this wouldn't work well with my naturally deep voice.

For next lesson, we are to listen to both Rent and La Vie Boheme ready to work on next lesson.

Single - Applying Acting Styles - Blog 9 - 29/09/16

Today, we performed our scene from Mother Courage and Her Children.

We started off with a quick rehearsal but then went on to perform the scene for recording.
Below is the video of our performance:

Notes:

• All of us had superb characterisation throughout. We portrayed our character in a very Brecht manner.
• I forgot my "Leaving the other one blank," line as I was focusing too much on my movement, however Hope covered this up well by saying my line for me.
• When Rob forgot his, "Second Finnish Regiment," line, Ollie K did well to alert of this by proceeding to nudge him with his foot and repeat his question which was suitable for Ollie's character of Sergeant.
• Halfway through the scene, I realised that we didn't have our box (helmet) onstage. However, once Charlie was made aware of this, we worked together to get the box onstage discreetly, I feel this worked rather well. However, considering this is Epic Theatre, it wouldn't matter if I simply walked offstage to get the box and came back on as things like set changes happened in front of the audience.

Double - Auditions for Actors - Blog 7 - 28/09/16

Today we performed our learnt monologues we prepared for this lesson, however we were unable to perform our prepared monologue as we ran out of time. The monologue I decided to learn off by heart ready for this lesson was Eddie's monologue from Fading Joy as I found it very entertaining to perform and when I performed it last lesson, the audience seemed to really enjoy it and suggested that it should be one a should use for my performance.

When I performed it the first time today, I received the following notes:

• Was very samey - last lesson it varied in tone whilst today it seemed quite dull and not quite the same.
• Pauses were too long - this led to the audience losing attention or getting bored.
• Your voice needs to sound younger - where I sounded older, it made my character sound less innocent so the context was lost.

I feel a few of these mistakes were because I was trying to remember the monologue rather than perform it as I found this monologue very difficult to learn.

After my second attempt, these are the notes I received:

• The tone was better - could be a tad more varied.
• Pauses were better length but are they really necessary - although the stage directions say pause, you can choose to ignore this if you'd like if reason is provided.
• The voice was much more childish - this made your character more believable and relatable to audience which is what you need to grab their attention.

I feel so much confident with this monologue now and after the positive reaction from the audience, I am seriously thinking about using this monologue for my assessed performance.

Next lesson, we will, again, learn one monologue off by heart and prepare another. The monologue I will learn off by heart will be Arthur's monologue from An Inspector Calls and the monologue I will have ready will be Mark Rothko's monologue from Red.

Triple - Musical Theatre Unit (RENT) - Blog 3 - 28/09/16

Today, we found out our roles within Rent and they are as follows:

• Mark - Cameron
• Roger - Henri
• Mimi - Taylor
• Collins - Lewis (Me)
• Angel - Owen
• Benny - Will
• Maureen - Alice
• Joanne - Lorna
• Multiple Roles - Tyler & Warren

I am very happy with this casting as I achieved my goal of wanting to be one of the main three male characters; despite not getting Mark like I wanted I am still very satisfied with Collins and he has lots of good songs and it will be fun to perform with Owen for the majority of the musical.

After finding out our roles, we were asked to research our characters for some time to get a better idea of who we are playing. In this time, I have created a character profile, a relationships diagram and made a note of all the songs within the musical which Collins is involved in whether he has a solo or if he is singing as part of the company (ensemble):

We then went on to rehearse Season of Love, the signature song of the musical. We started off listening to the song so those who had never heard it before. After listening, we sung along with the vocals to help us get used to it and learn the harmonies etc. After this we sung it through once without the vocals so we could get used to singing it without and so we can hear our own and each others voices. We then went on to work closer in on the harmonies, especially on the, "measure in loooooove" line.

Next lesson, we will continue on with this number, adding in the "oo's" and possibly clapping on, "it's time now, to sing out, tho' the story never ends..." We will then possibly move onto Rent.

Single - Applying Acting Styles - Blog 8 - 27/09/16

Today we began our work on our scene from Mother Courage And Her Children. We first received our roles from Charlie, our director for the scene, which are as follows:

• Recruiter - James
• Sergeant - Ollie K
• Mother Courage - Hope
• Elder Son - Rob
• Younger Son - Ollie M
• Eilif - Kat
• Swiss Cheese - Lewis (Me)
• Kattrin - Lorna

This scene features a lot of Brechtian techniques which I feel portrays these characters best as they were written to played in Brechtian fashion. Some of the techniques we used include Placards for character names and places, choral speaking, speaking stage directions, onstage costume changes, and split screen.

Next lesson, we will rehearse it once more and perform it.

Double - Business - Blog 2 - 26/09/16

Today we presented our powerpoints on Criteria 1 Task A and began Criteria 1 Task B: research into 3 different job roles within one of our chosen companies.

Below is my powerpoint for Task B:

Triple - Musical Theatre Unit (RENT) - Blog 2 - 26/09/16

Today, was the day of auditions and the situation on what we'd sing had changed. Instead of singing Seasons of Love and two other songs, we were only required to sing one song in order for us to spend some time rehearsing. After debating which song I would perform, I decided to go with Tango Maureen. I feel that as I've already sung a song for Roger and Collins, I should do one solely on Mark to fully show my ability in all three roles. At the end of the day, I'm not bothered by what role I get but Mark would be my preference.

After performing Tango Maureen, I was pretty confident as I felt my singing was good and I acted the part out quite well.

Next lesson, we will receive the cast list and start working on the production.

Double - Auditions for Actors - Blog 6 - 23/09/16

This lesson we performed a monologue we learnt off by heart (in my case Pax's monologue from Dreams In Captivity) and one that we'd prepared but not fully learnt (Eddie's monologue from Fading Joy).

When I performed Pax's monologue, I recieved the following notes:

• Slow down - a lot of your lines are difficult to understand because you're speaking to fast
• Good American accent
• Search for a deeper meaning - scraping the surface of your monologue is standard but to perform it convincingly, you need to think what each line means.

I then workshopped my opening line. When performing a monologue, the first thing the audience hear is your opening line and it should grab their attention immediately. If you don't draw the audience in a the beginning, they won't be interested in what you say later.

When working on my opening line, I decided to enter loud and riled up but felt this wasn't very captivative. I then tried pointing at my audience by addressing them as Pax's wife, Livi (the opening line is "You're so scared"). This was somewhat effective but I felt that it came across too aggressive so I went with a sigh before addressing the audience as Livi. I feel the sigh caught the audience's attention immediately so they were fully interested as soon as I spoke my first line.

After this monologue, I went on to perform my Fading Joy monologue. For this monologue, I wanted to play my character as if he were unable to understand his scenario. The scenario is Eddie and Joy are stuck on a beach island and Eddie is trying to figure out why they were both there. After every theory he comes up with, he dismisses it and comes up with something totally opposite.

After performing it once, I felt that his inability to understand could be through some sort of special need (this is never specified in the play) so I decided to play the character as if he were slightly disabled but not to the point of where it looks too forced; I wanted to bring the innocence to my character rather than the cliché.

After performing it like this, I felt like it worked so much better and I got quite a few laughs from the audience. 

Next lesson we will have another monologue learnt off by heart (I will use Eddie's monologue from Fading Joy in this scenario) and another monologue prepared.

Triple - Musical Theatre Unit (RENT) - Blog 1 - 22/09/16

Today, me and Lorna were told that we'd be doing the Musical Theatre Unit with the Year 12 Double class while Ollie and Charlie caught up on units from last year.

As we had started the unit later than the rest of the class we were thrown into the deep end a bit and we were brought up to speed! We were going to put on a production of RENT by Jonathon Larson and that auditions will be held on Monday's lesson where we'd have to perform Seasons of Love the musicals main song, along with two other songs by characters we express an interest in playing.

As I've seen the movie many times and seen last years Year 13's perform production of it, I know this musical very well so I had a good understanding of each character. Due to my build and naturally deeper singing voice, I ruled Angel out of my possible choices for characters as her she is typically very skinny and has a high voice. I was then left with Mark, Roger, Collins and Benny. 

My preferred out of these roles was Mark as his singing voice has a very strong American accent and it seems like his songs could be referred to "spoken sung" and as I'm not 100% confident with singing, I felt that Mark would not only be a safe bet but I feel I'd be able to characterise him very well. 

I feel that Collins would also be a very good character for me too because I have a deep singing voice which suits the character well. Also, I feel I'd do very at playing Collins as the opposite of a stereotypical homosexual, Angel. I feel that I could play him in a way that could change the audience's view on homosexuality. 

With Benny, although he seems like a very interesting role and I have experience playing the antagonist (Mephistopheles in Dr Faustus), I don't feel that the role wouldn't suit me and I would rather have a part with more lines.

Finally Roger... With him being my favourite character and having easily, in my opinion, the best story arc in the whole musical, I definitely wanted to give him a go, despite not being fully confident with singing.

With this all kept in mind, I needed to pick two songs for my audition to perform along with Seasons of Love. I narrowed this down to a couple of songs per male:

• Mark - Rent, Tango Maureen
• Roger - Rent, One Song Glory
• Collins - Santa Fe, I'll Cover You

After narrowing down which songs I could do, our teacher, Mr Webb, asked me to perform I'll Cover You with Owen; we were told that Owen was to be Angel and I was to be Collins. After performing this, I feel more confident with Collins and I feel that it would be a lot of fun to play. Webb said that as he heard me perform Collins today, I don't need to worry about singing a Collins song at the audition. This makes my decision a lot easier as I only need to worry about choosing songs for my characters rather than which characters to choose from.

I was then asked to perform another song and, feeling pretty ambitious, I decided to give One Song Glory a go and it didn't go too bad. I seemed to have a good reaction everyone else, however, as soon as I started in a much a higher key that I normally start in so when it came to the chorus which is a bit higher than the rest of the song, my voice cracked and for most of that portion I wasn't singing at all as I was trying to get back into the right key. I would rectify this by starting in a lower key.

After these two performances, I've decided my two song choices for auditions on Monday:

• One Song Glory - As long as I start in a lower key, I feel that I'll perform this song rather well. I would be very pleased if I were to get my favourite role in the show.
• Rent - I believe this will be good as I would be able show off not only Mark and Roger but also a small portion of Collins too! I also know this song very well as is, so it would be a waste to not perform it.

Single - Applying Acting Styles - Blog 7 - 22/09/16

Today, we finished and presented our research on Bertolt Brecht. After creating my own and watching others presentations, I feel like my knowledge on Brecht and his conventions has grown a lot!

We then quickly went over the play we'll be working on a scene from next lesson: Mother Courage and her children. The play is set in Europe during the Thirty Years' War. Mother Courage, a canteen woman, pulls her cart with her three children (Eilif, Kattrin, and Swiss Cheese) in the wake of the army, trading with the soldiers and attempting to make profit from the war.

As the scene we were given only has eight roles (and we have nine members of our class), we decided to elect Charlie as our director for the scene to decide which Brechtian conventions we'll use and when as trying to ram all of his techniques in one scene would prove to be very messy and forced.

Next lesson we will fin out who Charlie has cast in each role and start performing this scene based off of his direction.

Double - Auditions for Actors - Blog 5 - 21/09/16

Today we performed our new monologues we found ready for this lesson. The monologue I chose was "The Fact Checker" from Goodbye Charles. This monologue is about a guy who rushes to his best friend's girlfriend's apartment and "tries" to confess his love for her. However, once he's there, he feels extremely awkward and wants to back out immediately. In the end he finally says the 3 magic word and confesses his feelings.

After my first performance of my monologue, I received the following notes:

• Too fast - needs to be slowed down in some areas for it to make sense.
• Think about what your saying before you say it; despite it being a frantic rush of emotions, there needs to be meaning in what your saying.
• Vary your tone - the tone is quite varied as it is but you're throwing away funny lines because they're not said to their full potential.
• Be careful of pronunciation - THoughtless, THing.

I went away with these notes and made notes on how I should perform each line depending on what my character's motive is at that point. Below is my annotated monologue:

After my second performance, I got the following notes:

• The speed was much better
• Although some were rectified, a lot of good lines got wasted as they weren't said in the right way.
• The pronunciation was better but there were a few "Fings," rather than "THings".

For next lesson, we've been asked to prepare two monologues: one we've done before in class and needs to be learnt off by heart, and bring in one completely new monologue and know that one roughly.

Single - Applying Acting Styles - Blog 6 - 20/09/16

Today in Single, we turned our focus from Victorian theatre to Epic Theatre, created by Bertolt Brecht.

We started off the lesson in two groups, (Hope, Kat, Lorna, James, Ollie M & James/Ollie K, Charlie, Rob & I) and were asked to pick out of a range of quotes, which we think applies more to the theatre we enjoyed watching today. The quote my group chose was, "Art is not a mirror held up to reality but a hammer with which to shape it." We decided to go with this quote because it can be interpreted in different ways which please different people in the group. Some of us saw this as to use a hammer to break this mirror image of reality however some of us took a more Brechtinian approach to this quote and thought of how Brecht always wanted to convey an image through his plays which we would carry forward into our day to day lives; hence "a hammer with which to shape it."

We next watched a short powerpoint about the history of Brecht and how he went from a medic in World War One to being one of the most well known practitioners of all time.

After a short exercise detailing what the terms Communism and Fascism meant (we stood on different ends of the room to judge whether we thought figures such as Hitler and Karl Marx were communists or fascists) we were given a research task. We were asked to research Brecht's techniques and conventions and how this affected his performances.

Next lesson, we will finish our research and present our findings.

Triple - Naturalism & Realism - Blog 5 - 19/09/16

Today, we had Tom come in and work on our viewpoints to help with our monologues. After working with the national theatre over the summer, he had a lot of insight to show us.

Viewpoints is, "a technique of composition that provides a vocabulary for thinking about and acting upon movement and gesture."

Below are the areas we focused on:

• Voice:
• Pace
• Tone
• Repetition
• Pitch
• Volume
• Accent
• Gesture (vocal gestures like stutters, ers and ums, and sneezes)
• Movement:
• Time
• Gestures
• Repetition
• Touch
• Proxemics
• Shape
• Eye contact
• Audience
• Architecture

We then were asked to stand in a diagonal line and showed how to highlight each other using movement viewpoints. This would be used to show a range of different relationships and scenarios and we experimented with this for a while to create more relationships and scenarios.

After this we wanted to implement these into our current monologues from the play "Eight". However, Tom suggested that as we weren't very familiar with these monologues yet, so we decided to use our monologues from our Auditions for Actors unit in Double.

After performing mine, Tom had the following notes:

• Good body language and movement
• Tone was nice but could be varied more
• Great eye contact maintained throughout.

For my second performance, Tom wanted me to remove my movement and focus on just sitting still and only gesturing with my hands. I found this rather tricky as this monologue is quite emotional, but Tom thought as I was directing my monologue to the audience before, I should try directing it to myself. This lesson was very helpful at evaluating my own performance and how to focus on all viewpoints at once.

Double - Auditions for Actors - Blog 4 - -16/09/16

Today we performed one of our two monologues we chose and work on them with the notes we were given.

Out of the two monologues I had prepared, I decided to go with Treplev's monologue from The Seagull as I felt that I understood the background regarding this play more and I had rehearsed this one more.

We started off performing these monologues only with our preparation from outside of lesson. When quizzed on the context of my monologue, I'd say I did well to know what I did except I was unsure on who my monologue was aimed at. This was a very big error as this reflected in my performance thus making it less believable.

Below are the notes I received after my first performance:

It isn't clear you understand fully what you're saying.

"She loves me/not" - Say each line differently

Watch your pronunciation e.g. THink, THeatre.

Lack of movement

You need to change your tone of voice throughout. Each line is a new thought.

After receiving this feedback, I looked over my monologue and decided what my character was feeling and what they mean with every sentence they say. Having this clear image of what my character mean in my head is very helpful with deciding how I want to perform my monologue; if I don't know what my character means, how am I supposed to tell the audience he means.

After this, I repeated the same activity I did for my last monologue and underlined each word I was going to put emphasis on. This helped me a lot when wanting to get my point across to the audience.

Below are my notes I received after my second performance:

• Good eye contact
• Wait before you say your first line - hook us early
• Movement needs to be more purposeful
• Change tone throughout

After this set of notes, I continued to perform my monologue, rectifying my mistakes.

Next lesson, we will perform these monologues again after having a while to rehearse them.

Single - Applying Acting Styles - Blog 5 - 16/09/16

Today we focused on our proxemics in our piece from An Inspector Calls and added some more set.

We initially thought our scene lacked movement but adding movement makes our scene look very awkward as our characters don't seem to have any purpose for movement. To solve this issue, we've added in two bar tables on either side of the scene. When any of us walked towards the tables (me and James as we were men and women typically stay seated) we'd mime pouring drinks.

We also focused on the proxemics of our scene. We worked on how our characters react to what others say and add purpose to our actions; for example while Sheila and Sybil chat about Gerald, I tend to not pay attention and get a drink as my character thinks Gerald is amazing but when Sybil mentions her husband (me), I walk towards her and rest my hand on her shoulder. We also had a lot of trouble with our postures, especially me. I found it very difficult to sit upright at all times as I naturally slouch when seated. I finally got the hang of this throughout the lesson.

Below is our final performance (https://www.youtube.com/watch?v=51wFbtvzXUY):

Notes:

• I feel like my body language when walking around was great. However, when seated, I still slouched quite a bit.
• My upper class voice was quite good but could be improved. This is because at times I sounded angry. Despite this, I feel the voice suited Victorian Melodrama very well due to it being so extreme that it was unbelievable which works well for this acting style.
• I did well to not look at my script when performing my longer paragraphs as this meant I could focus more on my movement. There were some parts I didn't get word perfect but they were along the right lines. Not having to look at your script is important in Melodrama as it allows you to focus on your performance more and remaining over the top.

Single - Applying Acting Styles - Blog 4 - 15/09/16

Today in Single, we continued on with our scene from An Inspector Calls.

As Ollie wasn't in today, James too his role as Gerald as Eric only has a few lines where Gerald has an important role in the script. We decided to cut Eric's lines for the time being as they weren't very important.

After reading through our scene to remind ourselves of the story, we blocked out where we would all be seated/standing. We felt that Eric's chair would be distanced from the rest of us as Sheila is the centre of attention at the time. We had Gerald and Sheila seated near each other as they are a couple but not too close as they are in the company of Sheila's parents. Arthur and Sybil were to be seated next to each other too for the same reason and Arthur's seat would be closer to Shelia than Sybil's as he feels he is the man of the house and he wants to be closer to his daughter, especially in a like this: of celebration.

Next, we worked on our voice. From my children's theatre unit, I needed to have a posh voice so I carried that on to this performance. With the Birling's being far superior to working class, we felt that would speak very posh; also, as Victorian theatre was very melodramatic, we felt that these posh voices needed to be very over the top to the point that it wasn't very realistic. This took some of us a while after we got into the swing of things, we managed to get our voices right.

After our first run-through, we felt that our piece was very lacking in movement so we decided to work on this next. We decided that only James and I would stand as, normally in these times, women were seen as lesser citizens and would be virtually owned by their husbands and fathers. We took this very literally and disallowed Lorna and Kat from standing without our permission. James and I wouldn't stand up very often but when we did, it was only little movements which, in a scene like this, go a long way.

Next lesson, we will work more on our movement specifically focusing on proxemics, something I am very familiar with from Triple.

Triple - Naturalism & Realism - Blog 4 - 15/09/16

Today, we began working on our monologues in more depth and creating a character profile!

We started off by creating a character profile about our characters to help us get a better understanding of them. At first I found this rather difficult as I was unsure how to lay this out and what to actually draw from the monologue but after a while I got the hang of it. The layout I chose was similar to that from my London Riots character profile where I drew a gingerbread man and filled it with the emotions of my character and link them to the outside which are the given circumstances from the monologue.

Below is my character profile:

Next we were asked to focus on our first couple of lines as a strong start to a monologue is very important and should catch the audience's attention. We quickly learnt the first lines then performed them to the class and we made notes on how we could all improve.

When I performed my monologue, the class felt that, for a gay character, I hadn't portrayed him very camp. Although I didn't want my character, André, to be too camp as I feel it would've been too stereotypical and less entertaining, I needed to "camp it up," it a bit. At first, I found this immensely difficult but after changing my voice slightly and sitting my legs crossed more femininely, I could pull it off. I will need to work on this ready for next lesson.

Triple - Naturalism & Realism - Blog 3 - 14/09/16

Today, we begun our work on proxemics; the branch of knowledge that deals with the amount of space that people feel it necessary to set between themselves and others.

We started off by acting out our scenes again, keeping in mind proxemics, but this time without actually speaking. This tested our ability to portray our speech through actions whilst still focusing on how close we are to our partner and where our body is directed. Charlie and I found it difficult at first to perform the scene without speaking however this allowed us to focus on our movement much more meaning we made more progress with perfecting our proxemics.

We then added the dialogue back into the scenes now that we were better with our proxemics.

At the end of the lesson, I received my 15 minute (approx.) monologue which I didn't get from last lesson due to absence. Mine was about a 28-year-old gay art gallery owner whose boyfriend had just committed suicide.

Next lesson, we will look at these in more detail.

Double - Auditions for Actors - Blog 3 - 14/09/16

Today we spent the lesson doing workshop exercises we may be asked to perform in an audition. This was to show us how radical some theatre companies/drama schools may be with the tasks they set!

Below are the tasks we were asked to do:

Following this we were asked to perform one of the monologue's we were asked to prepare for this lesson. I chose my monologue from Chekhov's The Seagull as I was more familiar with it and had a better understanding of the plot. I feel this monologue got a very good reception.

Halfway though, I was asked to stop and repeat my monologue as if I had just eaten the hottest chilli I had ever eaten before! The way I performed it this time was MUCH different o before due to my tongue rolling out my mouth and my heavy breathing and coughing. This request was very odd but I dove straight in and performed to the best of my ability.

Single - Applying Acting Styles - Blog 3 - 13/09/16

Today, we analysed the timeline of theatre and then focused Victorian theatre and looked at the script of An Inspector Calls.

We started off by establishing the timeline of theatre with rough notes on each period and more notes on Victorian as this was focus point of the lesson. Below are all my notes on Victorian Theatre along with my timeline from the lesson:

Victorian Theatre - 1837-1901

Most West End theatres were built in this time.

Key Playwrights: Oscar Wilde, George Bernard Shaw, J.B. Priestly

Variety shows were very popular featuring magicians, acrobats etc.

Music Halls were where these variety shows were performed but their popularity fell after the first World War due to the rise of cinema.

Victorian Theatre was very melodramatic.

After this we were spilt into 2 groups, (Charlie, Ollie K, Rob and Hope/Kat, Ollie M, James, Lorna and Me), and asked to prepare a scene from An Inspector Calls for next lesson. My group were given the opening scene from the play which involves Gerald proposing to Arthur Birling's daughter, Sheila, followed by the two men exchanging in business afterwards.

So far, we'd only read through the scene once and blocked out where our characters would sit/stand based on their relationships. Next lesson, we will finish preparing our piece and possibly perform it.

Double - Business - Blog 1 - 12/09/16

Today, we started our new unit! We were given a quick briefing of the unit along with the criteria detailing everything we needed to do.

Afterwards, we shot off and began our work on Task A: Research on 3 theatre companies; this task was then continued on as homework. Below is my finished powerpoint: