MORNING PORTFOLIO

MORNING

BIBLIOGRAPHY

EVALUATION

LOGBOOKS

ANALYSIS OF SCENE

SCENE WORK

GIVEN CIRCUMSTANCE

MY OPINION

CHARACTER ANALYSIS

THE WRITER

MORNING: RESEARCH

Index

MORNING

01

SECTION ONE: RESEARCH

MORNING

"Morning" is a play written by Simon Stephens in partnership with the Lyric Hammersmith's young company. The plot revolves around two girls, Stephanie and Cat, who take a teenage boy, Stephen, to a remote location, offer a threesome, tie him up, and then kill him with a casualness that brings the audience to the edge of their seats. The play is based on true accounts of children and teenagers who murder and depicts young people who look out at the world with the constant attention of scientists investigating an intriguing topic, only to learn that they are the subject beneath the microscope. It's the end of summer in a small, claustrophobic town, and two friends are set to part ways: one to university, the other to stay close to home. Whatever separates them, they will always share one moment: a moment that transformed their lives forever. The Lyric Young Company will perform this dark coming-of-age drama, which is a troubling look at the brutal acts we are capable of committing; our society's numbness to physical suffering; and the consequences of our actions. It demonstrates how easily persuaded the youth are, as well as their lack of self-control and regret when acting on their decisions. It also demonstrates a lack of parental guidance and how they are allowed to do whatever they want, even if it is wrong. The play illustrates its concern for adolescents by showing us how an incident may alter a person's entire life. Stephanie believes that the young generation is insignificant and that life is dreadful, so she believes that even if someone dies, nothing will change. Everyone would go about their everyday lives as if nothing had happened. This might also be interpreted as a message on how society has become deceived. Unlike much of the material that appears to be written and performed for young people, Morning pushes up the intensity. It's a straightforward look at today's youth, trapped in the horrors of expressing themselves in films and games while embracing their sexual freedom. Too frequently, we attempt to isolate young people in a protective bubble.

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THE THEMES:

Simon Stephens' "Morning" is a coming-of-age play that examines the themes of adolescence, friendship, psychosis, death, and guilt, as well as the weight of each on youthful shoulders. The play offers a distressing look at the horrible acts we are capable of, our society's apathy towards physical pain, and the consequences of our actions. The themes of mortality and youth are linked in the play. The play examines how young people can commit horrific acts and how they deal with the consequences of their actions. The play also looks at how society perceives young people and how it might become insensitive to their sorrow and suffering, which can have an impact on the actions that they take. This is consistent with Stephanie's belief that the youth community is undervalued and underserved, which may have an impact on their perspectives and mental health. The affection that they deserve may be lacking, and growing up in a terrible situation or environment may contribute to the trouble that they create. This is demonstrated in the play by the way teenagers communicate with one another and how strong their use of language is. The adolescent years should be the most important in everyone's life because they are the years when they mature into young men or women and before they have to worry about living alone, paying bills, and taxes, seeking work, and so on. Instead of spending the years on enjoyment, socializing, education, and a sense of belonging, the last year before becoming an adult is spent in the play on hiding a crime. This demonstrates the kids' instability and how their mental thought lacks control and regret. Simon Stephens explains how quickly adolescents can be deceived into participating in illegal activities due to an unstable family situation, peer pressure, mental health, a sense of belonging, and many other factors. Morning portrays the darker aspects of youth, sending a stern message to the next generation. It might be viewed as a method to seek help if someone does not feel safe or loved in their home, rather than allowing feelings of enjoyment and curiosity to lead to a darker future. Stephens may be attempting to convey how everyone in society should protect and nurture the youth, even when they make mistakes, in order to guide them into a greater and more promising future.

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The end of all vital processes of the body, including the heartbeat, brain activity (including the brain stem), and breathing, is referred to as death. Death can take many forms, whether it is predicted following a terminal sickness diagnosis or an unexpected accident or medical condition. According to surveys, common fears about death are related to the idea of leaving loved ones behind and the dying process itself. Certain life choices, on the other hand, could assist with relieving the fear of death. Being married or in a committed relationship is a huge relief. It also helps to be in good physical health. This could be because it adds meaning to life and is associated with improved mental health, or it could simply provide the impression that the Grim Reaper is further away. Those on opposite ends of the religious spectrum are also less terrified of death. Atheists are more calm and "in-the-moment," whereas committed believers find comfort in the fact that there is an afterlife and that their life has value. This could be because older people have experienced more of life, so they have less fear of missing out. Or it might be because they have more experience with witnessing and handling the death of others. For some, however, the fear of death can be hard to handle, developing into what’s termed thanatophobia. "It is healthy and normal to be afraid of death, but when we venture into these pathological fears where it becomes all-consuming and it starts to interfere with our activities of daily living, there are things that we can do therapeutically,” Santa Maria said. Cognitive behavioral therapy is by far the most successful treatment. A professional therapist will assist a client who is afraid of death in challenging their anxiety-inducing preconceptions about dying and then exposing the client to death in ways that would lessen their anxieties. Such exposure could include watching films containing end-of-life scenarios, reading hospice literature, or making a plan for their death.

THEMES: DEATH

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Grief is a terrible and unpleasant experience that nearly everyone goes through at some point in their lives. Despite this, it can be difficult to predict how we would react to a loss as it is an individual process. "The pain doesn't vanish and we shouldn't have to hide it, especially from those closest to us." Suffering from sadness or depression can be triggered by the reality of the loss and may cause you to withdraw yourself while reflecting on things you did with your loved one or focus on old memories.Shock, denial, or disbelief is natural for our minds to try to protect us from suffering, thus after a loss, some people may feel numb about what has happened. Shock protects the emotions from getting overwhelmed, especially in the early phases of mourning, and it can persist for a long time. Denial and numbness. Following a loss, you may experience numbness. This is natural and allows us to comprehend what has happened at our own pace, rather than before we are ready. It is natural and can be a useful stage - the only difficulty being if numbness is the only thing we feel, and none of the other feelings are linked with sorrow, as this can cause us to feel 'stuck' or 'frozen'. "Grief is a fickle thing, and it hits you in ways that you aren't prepared for. I've always been a fairly confident person so the shift in my mental health that came with grief took me by surprise." Panic and confusion. Following the death of someone close to us, we may be left wondering how we will fill the absence in our life and may have a sense of a changed identity.Angry or hostile. Losing someone is hard and may appear to be an unfair thing to experience. You may feel angry or upset and want to find something or someone to blame for the loss to make sense of it. It shows how our emotions can overcome the best of us and could lead us to make the wrong choices because of an overwhelming experience. Being angry isn't considered a bad thing but it can become one if our emotions get the best of us, and if we act emotionally rather realistically.

THEMES: HOW CAN DEATH AFFECT SOMEONE?

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The theme of death is linked to the play Morning because it demonstrates how death does not touch everyone in the same way that most people are affected. Stephanie and Cat first show little remorse for their actions since they are not startled by what they have done. They reacted in a way that made me question their mental health and whether there was something wrong with them because no sane person would perform such an act and then feel fine afterward. This also demonstrates how death can strike anyone at any age and at any time; death cannot be avoided but can be prevented; nonetheless, Cat and Stephanie demonstrate how their generation isn't regarded as valuable. They believe that teenagers are unimportant and that by carrying out this murder, they have demonstrated that they have a lower chance of getting discovered. This demonstrates a lack of respect and affection for the younger generation, as evidenced by the characters' use of violent language, pessimistic attitudes toward family, and an overall sense that life is meaningless to them. Although not all characters believe that life is horrible for them, Cat is heading to university and Anna believes she has met her dream guy and is upset when Stephanie questions their choice of a bad date. Death is also a motif in the play since it demonstrates how unexpected it may be. Death can happen at any time, anywhere, and by anybody, even if it is unplanned, as it appeared to be for Stephanie and Cat. They were planning to tease and mess with Stephan, but not to kill him, as I interpreted it. It appeared to be when they both began to exchange side glances and sly smiles. Their communication via their eyes demonstrated how far they were ready to go for enjoyment. Overall, death is an important theme in the play since it demonstrates how it may happen to anyone, even if they have lived a good life and have done nothing wrong. Stephanie and Cat demonstrate how death isn't always intentional, but how it may come quickly, especially when someone is outnumbered. Stephan was someone who assumed he'd be participating in a threesome with the two girls and felt uneasy about the whole thing. It demonstrates how the two girls persuaded Stephan that he was safe with them and that they wanted to have sexual intercourse with him, even though he was apprehensive at times during the encounter.

THEMES: HOW DOES IT LINK TO MORNING?

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"Teenage nihilism refers to a philosophical and existential outlook often associated with adolescents who adopt nihilistic perspectives on life. Nihilism, in a broad sense, is the belief that life lacks inherent meaning, purpose, or value. Teenage nihilism, then, represents a period in which young individuals may question or reject traditional beliefs, societal norms, and moral values. Teenagers experiencing nihilistic tendencies may feel disillusioned with established systems, institutions, or ideologies. They might question the significance of societal expectations, academic pursuits, and interpersonal relationships. This perspective can lead to a sense of existential angst, where individuals grapple with the idea that their actions may be ultimately inconsequential. Factors contributing to teenage nihilism can include exposure to existential philosophy, societal disillusionment, personal crises, or a sense of alienation. The challenges of adolescence, such as identity formation, peer pressure, and the search for meaning, can further contribute to nihilistic sentiments. It's essential to note that teenage nihilism is a complex and multifaceted concept. While some adolescents may grapple with nihilistic thoughts, others may find meaning and purpose through different avenues. It's a phase that reflects a period of questioning and exploration as individuals navigate the complexities of identity and existence during their formative years." This can affect someone by losing motivation. Nihilism often entails a belief that life lacks inherent meaning or purpose. This perspective can lead to a loss of motivation, as individuals may struggle to find significance in their actions, goals, or aspirations. Some individuals may respond to nihilism by engaging in risk-taking behaviors. The belief that life lacks inherent consequences might lead to a willingness to take risks or engage in activities that others might consider reckless. This links to Stephanie since she is an example of teenage nihilism.

THEMES: TEENAGE NIHILISM

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Relationship Struggles: Nihilism can impact interpersonal relationships. The rejection of traditional values and beliefs may strain relationships with family, friends, or romantic partners who adhere to different worldviews.Academic Disengagement: A nihilistic perspective might lead to disengagement from academic pursuits. If a person believes that academic achievements lack inherent meaning, they may struggle to find motivation to excel in their studies.Search for Personal Meaning: On a positive note, teenage nihilism can also prompt individuals to embark on a personal journey to find meaning. Some may explore alternative philosophies, engage in self-discovery, or seek unconventional paths to derive purpose from their lives.Creative Expression: Nihilism can fuel creative expression. Some individuals may channel their nihilistic thoughts into artistic endeavors, using art, writing, or other forms of expression as a way to explore and communicate their existential reflections.Existential Angst: Teenagers grappling with nihilistic thoughts may experience existential angst or a sense of unease about the meaninglessness of life. This existential crisis can contribute to feelings of anxiety, despair, or even depression. It's critical to understand that different people may experience teenage nihilism in very different ways. Some would suffer negative effects, but others might see personal development, self-discovery, and the creation of their distinct worldview as opportunities presented by this philosophical viewpoint. Furthermore, as people mature and move through different phases of life, these effects could change.

THEMES: HOW IT AFFECTS SOMEONE

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In Simon Stephens' "Morning," a profound exploration of the existential struggles among its teenage characters unravels, delving into themes that orbit around the perceived meaninglessness of life. The narrative navigates the complex terrain of teenage nihilism, where the characters, echoing the broader societal sentiment, embark on a questioning of the inherent purpose of their actions and the overarching structures that shape their existence. Stephanie’s monologue, a heartbreaking instrument through which Stephens articulates a social decline into apathy, effectively underscores the theme core. The disturbing observation made by Stephanie that the world will not significantly alter even in the face of horrific events highlights the degree to which society has turned a blind eye to its own problems. The monologue exposes a general lack of awareness, presenting a society that willfully ignores obvious problems that are a sign of a larger social disease. The story also effectively communicates the idea of continuous self-discovery as a meaningful and purposeful path. The young people shown in the play, however, convey a view that life has not given them a feeling of essential significance and that this search is pointless. This viewpoint illuminates the protagonists' disillusionment and existential void, which are representative of a generation struggling with a deep sense of meaninglessness. The play questions the idea that life is exciting or joyful for everyone by depicting societal issues. Stephens creates a complex portrait of the human condition via the character's varied tales, not all of them are happy ones. The examination of these diverse stories raises questions about the unpleasant reality that people encounter, challenging unrealistic expectations of the intrinsic joy of life. Stephens skillfully explores the play's theme of youthful nihilism, arranging a symphony of feelings that concludes in a deep sense of shame and empathy for the characters. The research resonates with a broader sense of despair and societal indifference than just the hardships of the individual. The play presents these complex stories on a canvas that encourages reflection on the complex relationship between individual personal distress and the larger social context.

THEMES: HOW IT LINKS TO MORNING?

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SIMON STEPHENS

"Simon Stephens is a British-Irish playwright and Professor of Scriptwriting at Manchester Metropolitan University. He is known for his adaptations of José Saramago’s Blindness, Bertolt Brecht’s The Threepenny Opera, and Mark Haddon’s The Curious Incident of the Dog in the Night-Time. He has also written many original plays, such as Morning Sun, Light Falls, and Song From Far Away. Stephens is widely recognized as one of the most performed English-language writers in Germany. He was born on February 6, 1971, in Manchester, England. Stephens graduated from the University of York with a degree in History. After university, he lived in Edinburgh for several years, where he met his future wife, Polly, before later completing a PGCE at the Institute of Education. He worked as a teacher for a few years, before leaving to become a playwright. In 2017, Stephens was appointed to a Professorship at the Manchester School of Writing, at Manchester Metropolitan University. He is also an Artistic Associate at the Lyric Hammersmith." Simon Stephens' play 'Punk Rock' premiered at the Royal Exchange in Manchester in 2009 and was later relocated to the Lyric Hammersmith, directed by Sarah Frankcom. The play follows a group of sixth-year private school students as they prepare for their A Level mock exams. The play is a dark coming-of-age drama about the brutal acts we are capable of committing, our society's apathy towards physical pain and the consequences of our actions. This play and 'Morning' share a similar concept in that both depict the corruption of young society. Stephens' plays are largely aimed at young people to demonstrate how important they are and how easily they may be exploited. According to an interview with A Younger Theatre, Stephens writes for younger audiences because he believes they are more open to new ideas and experiences. He also believes that young people are more eager to experiment with various styles of storytelling. Morning, Simon Stephens' new play, is not just a play that establishes Stephens' status as one of the most modern writers of our day, but it also represents a palpable shift in writers and directors' understanding that writing for young people is not a lesser art. This harsh and daring performance debuts at the Traverse Theatre as part of the Edinburgh Fringe Festival before moving to the Lyric Theatre in September. Stephens' piece, which was developed through workshops with the adolescent players, examines the events surrounding a teenage game that goes too far. Morning is a coming-of-age production that packs a punch, with strained friendships, police inquiries, and a buried truth.

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CHARACTER ANALYSIS

Who was Cat in Morning?

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Me and the two other people who played Cat talked about who we felt Cat was as a person and wrote down our impressions of her. We talked about how, while she is wealthy, she grew up with parents who aren't constantly present in her life since they work and are always busy. We suspected that she is self-assured in her body and appearance and that she is fairly flirty, particularly with Stephen. She is someone who recognizes her worth and also deals with family concerns. We anticipated that even though she was leaving for university, she'd be the type of person to sit in a park with Stephanie and smoke, talking about how the world is terrible. We imagined this scenario because it demonstrates how Cat may easily change her personality based on who she is with. In the first scene, Cat described some of the people she encountered during her university interview as "curiously ugly," and when they talked, "no real words came out, just a series of metallic clicks." This demonstrates how Cat may have to put up a front for the people she meets since she may not be able to display her actual self. Even though her relationship with Stephanie is concerning and random, they can relate and get along since they know they will not be judged.

CHARACTER ANALYSIS: CAT

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CHARACTER ANALYSIS: CAT

To link Cat's two identities even more, we suggested that when she wants to appear sexual and provocative, she will talk one pitch higher and play with her hair. But when she's with Stephanie, she's more relaxed and reserved, demonstrating how she may be more at ease with Stephanie despite their disagreements. Cat can be blunt at times, as I figured she is someone who says her opinion whether it is harsh or not. This occurred to me because, in scene 4, Cat agrees with Stephen and makes snarky remarks towards Stephanie, such as, "Exactly, Stephanie, you don't even think sometimes." Cat can be very stubborn at times, in my opinion. This is because there may be instances when she wants something and won't give up until she gets it, even if it's difficult for her to get it. It demonstrates her commitment, but it also demonstrates her stubbornness at times. We also talked about how Cat is a stylish and fashionable individual who can change her look whenever she wants to since she has money. Given that Cat is more independent than Stephanie, this demonstrates a clear comparison between the two. In stark contrast to Stephanie, who appears to feign confidence, Cat exudes a self-assured demeanor, fully aware of others' perceptions but resolute in her unwavering confidence. Her assurance not only sets her apart but also serves as a source of envy for those around her. Cat's self-elevation and poised carriage make her a potential target for bullies and unwarranted negativity. This dynamic mirrors the broader societal impact of social media on the younger generation, as it fosters insecurities and perpetuates harmful stereotypes. Cat becomes a living embodiment of resilience amid these challenges, navigating the complexities of societal expectations and media influences with a confident stride, impervious to the potential backlash that often accompanies such self-assuredness. Delving deeper into Cat's character, she not only exudes confidence but is also often perceived through a lens of sexuality, a facet that adds complexity to her identity. Intriguingly, she shares a close bond with Stephanie, her best friend, yet their relationship is a nuanced interplay of camaraderie and tension. The dynamics between them are intricate, marked by a communication style that veers into the convoluted, leaving an indelible mark on the overall texture of their friendship. The intricacies of Cat and Stephanie's relationship come to the forefront, revealing a somewhat tumultuous connection. The fluctuations between best friends and frenemies underscore an undercurrent of jealousy within Stephanie. This envy is directed at Cat's physical appearance, body confidence, and unwavering mindset—a stark contrast to Stephanie's constant need for external validation.

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CHARACTER ANALYSIS: CAT

Stephanie's deep-seated desire for approval becomes a pivotal contrast between the two friends. While Cat remains indifferent to external opinions, Stephanie consistently references the paradoxical nature of her relationships, highlighting the complex interplay of love and resentment. This contrast could be rooted in Stephanie's upbringing, navigating life without a support system, yearning for reassurance that everything would eventually be okay. In essence, the intricate dance between Cat and Stephanie not only unravels the layers of their friendship but also serves as a microcosm reflecting the broader themes of self-identity, societal expectations, and the pursuit of validation within the context of personal relationships. Diving deeper into Cat's character through the lens of my research, a nuanced portrait emerges, revealing a woman who stands as an intriguing blend of resilience, purpose, and moral complexity. The exploration of Cat's immunity to societal pressures and negative social media commentary unfolds as a testament to her inner strength. This aspect is particularly noteworthy in a contemporary world where the influence of digital platforms often imposes unrealistic standards. My insight into Cat's unwavering determination and goal-oriented nature enriches the understanding of her character. The notion that she has a clear vision of what she wants to achieve and possesses the dedication to pursue it underscores her as a character with depth and purpose. This drive also hints at an internal fortitude that allows her to surmount obstacles, as evidenced by her ability to move forward despite the lingering shadows of past conflicts involving Stephanie and Stephen. However, the revelation that Cat lacks remorse for her role in the complex events with Stephanie and Stephen introduces a compelling layer of moral ambiguity. This detail adds a darker hue to her character, suggesting complexities that might stem from a distinct set of values or experiences. The use of the term "psychotic behavior" brings attention to the gravity of her actions, inviting readers or viewers to grapple with the ethical intricacies surrounding Cat's choices. In summary, my interpretation effectively captures the multifaceted nature of Cat's character, combining strengths, flaws, and a sense of self-worth that makes her a compelling and dynamic figure within the context of the story.

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MY OPINION

In the intricate tapestry of Simon Stephens' play "Morning," a profound theme of teenage nihilism unfolds, intricately woven through the experiences of its characters, notably Stephanie. Stephens adeptly explores the malleability of youth, showcasing how the harsh realities of life and unforeseen circumstances propel them into precarious situations, forcing premature growth and understanding. The narrative delves into a spectrum of poignant themes, ranging from the loss of family members to the burdens of growing up prematurely, the corrosive effects of jealousy, the specter of death, and the haunting presence of remorse. Through these elements, the play digs into the raw, underlying truth of adolescent struggles, presenting a mirror to the complex emotions that teenagers grapple with. The characters, exemplified by Stephanie, embody the collective turmoil of youth, navigating a world where external judgments and societal expectations converge to shape their identities. Central to the narrative is the profound struggle for self-discovery, set against the backdrop of a society quick to cast judgment. The characters face the relentless barrage of comments, both online and offline, forcing them to confront dark secrets that, left unattended, could metamorphose into something perilous and threatening. These themes are not isolated but intricately connected to the broader societal landscape, with adolescence emerging as the focal point. Stephens uses the characters as vessels to articulate the universal challenges faced by teenagers, emphasizing the arduous journey of carving out an identity amidst societal pressures. My revelation about the play's unexpected twists and turns, coupled with an inherent curiosity about the characters' motivations, reflects the depth of the narrative. The evolving nature of the questions I asked attests to the complexity and ambiguity deliberately woven into the script, inviting diverse interpretations. The play, as I discovered, becomes a fertile ground for exploration, allowing minds to traverse the intricate pathways of its darker facets, demonstrating the transformative power of storytelling on a versatile and curious mind. "What's clear is that these are not monsters, but ordinary kids. Yes, Stephanie has her problems (Mum is dying, she feels unliked, and her best friend Cat is heading off to University), but it doesn't feel as if these difficulties are offered up as excuses. The journey of the play for Stephanie, and for us, is one from unknowingness to knowingness, action to consequence – and understanding that just because you can do something doesn't mean you should. Morning shows us the world as it is, not how we fondly imagine it to be. Only its title detains us with hope: little comfort, but perhaps enough."

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MORNING

02

SECTION TWO: REHERSHAL

LOGBOOK:WEEK ONE

We began today with a rhythmic warm-up routine on Tuesday. This helped me focus so that we could maintain the same tempo and beat as everyone else. This activity made me pay attention and helped me improve my teamwork abilities by ensuring that I knew when it was my turn so that I didn't disrupt the rhythm. This activity demanded a great deal of attention and focus. We then moved on to a warm-up routine that involved massaging our feet and releasing any tension in our feet. This would assist us in grounding our feet when performing so that we don't dance on the spot (due to anxiousness) or strain our feet. After the warm-ups, I was able to prepare for my audition for the play "Morning" by releasing all the stress in my body. This helped me stop stressing because of my anxiousness and prepared me to not be nervous for the audition because I wanted that part. The warm-ups also helped me mentally and physically to prepare for the part of Cat. I was motivated to perform this character because I believed I could do it well. I felt relieved after the audition because I was delighted with how quickly I was able to memorize my lines and how well I performed them. This, I feel, demonstrates how I considered the given circumstances for the scene I auditioned with. I believe this audition added to my confidence and ability to execute such a dark play to the best of my abilities, especially given how little time we had to prepare for the audition. I was able to calm my nerves and audition with the help of my audition partners, peers, and teacher. Because my scene was early in the play, my group went second, which worried me at first but then helped me perform knowing that I would get it done and then encourage my classmates with their auditions. I researched the role and how she may act or deliver her lines in preparation for the audition. I took notes on Cat and Stephanie's relationship and formed my own opinion about their friendship. I researched Cat as a person and how she is, as well as the scene with which I was auditioning, to better understand my character and the situation. As a result, I began practicing my audition to portray my character as flirtatious and confident. This assisted me in developing my ability to express various feelings and emotions. These abilities will be useful later in my career when I need to demonstrate the evolution of a character during a play.

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LOGBOOK:WEEK ONE

Today's class, on Thursday, began with a series of warm-ups, beginning with "The Evolution of the Chicken," in which we began as an egg and gradually progressed up the scale until we became an angel. To move up the scale, we had to play rock, paper, scissors with someone on the same level as us; whoever won went up, and whoever lost went down. This exercise was enjoyable for me because having a range of activities guarantees that you don't always warm up the same way, preventing the exercises from becoming dull. This also allows you to target several parts of your body instead of just one, and whilst doing this helps you learn more about yourself and what you can do to warm up. We next proceeded to find out who would play "Morning" in the play. I earned the role of Cat and the entire scene 4 (for which I auditioned). We had to read our scenes with our partners as soon as we got our roles to grasp what was going on in the scenario. Bella and Kamaari were the other two people in the scene with me, and we learned that Bella and Kamaari's characters were dating, even though it was supposed to be only his character, Stephen, and her character, Stephanie, who was supposed to hang out. Cat, my character, had planned to tease Stephen with Stephanie, as we had implied they have done in the past. We assumed this because, as we went further into the scene, it was revealed that the two girls were attempting to imply that they would be having a threesome with Stephen. This is demonstrated when Cat says, "Have you ever had sex with two girls before, Stephen?" This also represents Cat's approach of applying her attractiveness and confidence to persuade Stephen to participate in this sexual act, which could also reveal how she may occasionally rely on her looks to accomplish what she wants. This scene, in my opinion, demonstrated the interaction between Stephanie and Cat and how their attitudes towards each other may shift depending on who is around. We talked about where we were in the scene and what we were doing after we had a good comprehension of it. We were given these situations and wanted to comprehend them before acting them out. Our provided circumstances were what we were doing, why we were doing it, how we were doing it, where we were, why we were doing our acts, or why we were at our location. Knowing these things helped us visualize how we wanted our scene to play out and provided us an overview of what we needed to execute. Once we had these figured out, we began to add movement to our scene to see what worked and what didn't.

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LOGBOOK:WEEK ONE

We began with a new warm-up activity called "Gunslinger" on Friday. The exercise is similar to "zip, zap, boing" but with a cowboy spin. To make this exercise more enjoyable, we had to exaggerate our movements and exert effort. I needed to stay concentrated throughout the game to avoid losing my concentration and my ability to stay focused which helped to strengthen my skills. This game required me to use my vocal abilities, which both warmed up my vocals and helped me enhance my abilities. As an example, explore voice projection. This exercise assisted me in putting all of my thoughts aside to enter into my acting mind and prepare for the following tasks. One of Stanislavski's techniques, being present when acting, is a vital ability since it allows me to enter inside my character's head and focus so I can perform. This also contributes to a more realistic and sincere performance. We then proceeded to work through our scenes with our partners. Our director (Blanka) assigned us the task of reading through the scene with our partner and beginning to act it out since she was going to call us for the scenes to go through with us. To help me recall my lines, I went over them one page at a time, reading over a few of them before going over them again from memory. This would not only help strengthen my short-term memory, but it would also be helpful when I needed to start incorporating actions into my movements. I'd be able to deliver my lines while also adding actions and acting them out to make the scenario look more realistic. Even when I forgot some of my lines, my teacher had a script in her hands and would read our lines out loud if we said "line" if we forgot. However, I did not rely on my teacher to read my lines out for me because it wasn't going to help me memorize my lines. When we first started adding actions, Blanka would tell us to start the scene, and when she believed we could add an action, she'd stop us and say so. We considered the details and why we were doing what we were doing. For example, because Stephanie and Stephen are in a relationship, they would be close to each other, as recommended by Blanka. Stephen would wrap his arm around Stephanie's shoulder, while Cat would display awkward body language. This also demonstrates how Cat and Stephanie may go from being best friends to arguing. It was initially thought that Stephanie was a little jealous of Cat since Stephen gave her more attention, and this would then affect Cat's confidence as she was being complimented. This would cause Stephanie to tighten Stephen's grip on her since he had already demonstrated his obsession with her, which made Stephanie protective as she could've known about Cat's attempt to use her looks. This also showed Stephanie as a character as in the scene earlier on with Stephen she was blunt and quite rude to him, Cat would get tense and more closed when she noticed Stephanie glaring at her from time to time.

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LOGBOOK:WEEK ONE

After lunch, we continued working on the first movement piece, scene 7, with the theme of angels. We all had different ideas, but we were all drawn to the intriguing prospect of lifting one of Stephen's bodies and having the other Stephen act as his soul. This concept was initially difficult since we needed enough people who could raise one body. This was particularly difficult because our peer had to place his trust in us so that we would not drop him. To prepare for this lift, we completed an activity in which we lifted our peers in various ways to get used to lifting and trusting in each other, which was difficult at first because we didn't know if the idea we had imagined would work, but we overcame our fear and were able to lift him. Plando, who plays Stephen's body, would be carried by Kamaari, who plays Stephen's soul. The meaning behind this movement piece was to demonstrate how harsh Cat and Stephanie's actions were and how death can strike at any time. Because time is never on our side, we should treasure every moment of our life. Time is a limited and non-renewable resource that we must all manage properly. Time is valuable because it allows us to do things that are important to us, such as learn, work, create, enjoy, and help others. Time is valuable since it is limited and irreversible. We can't get back the time we've lost or wasted, and we can't tell how much time we have left. Every second that passes takes us closer to a new moment and a new chance to grow. It's such a rare resource that once it's gone, we'll never be able to recover it, no matter how hard we try. That's why it's critical to make the most of every second and put it to good use. "Taking time to appreciate life will bring you greater long-term satisfaction than any material possession or short-term pleasure ever could." This scene also relates to the theme of youth and how awful things can influence or be caused by young people. It demonstrates how far society has sunk and how easy it is to influence the younger generation. Creating this movement piece, we as a class wanted to demonstrate with this movement piece that although the body may not be in the best condition, the spirit is still whole and will be taken care of and protected in the afterlife. This scenario also has religious overtones, as many religions and cultures believe in the existence of an afterlife, and literature frequently uses it to investigate the human condition. Most Christians, for example, believe in the immortality of the soul and the possibility of life after death. Overall, I believe we were able to convey the sense of sorrow and despair in this scene by demonstrating how quickly a life may be taken away for someone else's amusement. It demonstrates how we should constantly enjoy our lives because we only get one, thus we should spend it with our loved ones, discovering exciting opportunities, and much more.

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LOGBOOK: WEEK TWO

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LOGBOOK:WEEK TWO

In today's lesson, we began by playing the "Gunslinger" exercise game again, as we had done previously. We then played "Splat" for a while. However, to gain focus, we had to exert maximum effort. This helped me prepare for the approaching tasks so that I could focus completely. Having a range of exercises is beneficial because I can use new methods of warming up each lesson, making it less monotonous and repetitious, and I can also target different portions of my body differently each day. We then continued to work on our scenes. My group and I decided to practice our scenes without utilizing our scripts to get into the habit of memorizing them quickly. While working on our scene, I considered the given circumstances and how I could incorporate them into my understanding of the entire scene. I made a comparison between how the beach is for relaxation and peace and the situation in which Stephanie and Cat murdered Stephen. This demonstrates how they are unconcerned about their acts, and how the beach, which was supposed to be a peaceful spot, was transformed into a murder scene. We then had another teacher, Ryan, assist us with our lines and finally with our scene. When we were going through the scene, he made sure we understood why we were doing this and how it would help move the plot of the story forward. We focused on ways to display many kiss scenes without really kissing but giving the impression that we were. This was pretty awkward at first, but because of my awkwardness, it was beneficial to the scenario, which helped to ease my anxiety. This was also difficult because we had to experiment with angle positions to make these scenes appear natural to the audience. We had to make sure that our bodies were angled in such a way that Cat and Stephen appeared to be kissing. We also experimented with various angle positions to give some uniqueness to the scene. After we got those scenes out of the way, Ryan assisted us in developing the killing scene. When Cat delivers the line, "Can I tie your hands together, Stephen?" Stephanie gets up from sitting down to unbuckle the belt around Cat's waist, tying Stephen's hands together. This is when Stephen realizes the two girls are no longer playing and that he may be in danger. Stephanie then pushes Stephen down, causing him to struggle under their control. I had to sit on Kamaari's ankles to keep him from escaping and using his legs to get us off, and Bella grabbed his wrists so he wouldn't use his hands either. This was difficult not only because we had to speak our lines, but also because the sequence was physically demanding, as both me and Bella were out of breath by the end of it. This also contributes to the authenticity of the situation since it brings everything together as we drag him off stage.

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LOGBOOK:WEEK TWO

Participating in this play gave me a thorough awareness of both onstage and backstage dynamics. This is due to my involvement in selecting music for the movement pieces and assisting with choreography for the movement parts in scenes 10 and 11. This demonstrated my abilities in the show's production element since I was able to assist in putting the play together. During the strike days, me and my group proactively invited members of both our group and the other to collaborate in rehearsals and creative endeavors. This project produced remarkable results, resulting in outstanding pieces of work that exceeded anything we could have accomplished individually. Facing the challenge of strike days was energizing, and triumphantly emerging with a well-documented record of our accomplishments gave a great sense of accomplishment for both myself and my group. Due to the strike, we had no teacher for today's lesson. Nonetheless, some of us came in to rehearse and prepare for our performance the following Friday. We started with our own warm-up activities, which were joined by group 1 because they, too, had no teacher. We began with a stretching warm-up to relieve any stress in our bodies. For instance, in our shoulders and necks. We then moved on to a more energetic and focused warm-up by playing a few rounds of "Gunslinger," a game previously presented by Ryan (teaching assistant). We then moved on to a vocal warm-up that Tim introduced at the beginning of the year, in which we began by breathing in through our noses and out through our mouths, but we had to control our exhaling rate by humming with our stomachs. This was a method of training our bodies to speak and breathe from our stomachs. This is beneficial since we don't strain our voices as much when performing or rehearsing, which not only reduces vocal pain but also helps us project our voices more. This will help our performance because by projecting our voices, the audience will be able to understand what we are saying and hear us well. This activity helps us strengthen our voice abilities and our confidence in the delivery of our lines. By participating in the two-strike lesson groups, I was able to work with people outside of my class, allowing me to push myself further and acquire confidence in working with other peers. This will help me in the industry because I will have to collaborate and use my teamwork abilities to create authentic and interesting performances with individuals I don't know. We then went right to work on our show. We chose to work on the three-movement pieces because our partners were not available to go over our scenes. We came up with the idea of all Stephanies saying, "The philosophers have only interpreted the world; the point, however, is to change it" in the second movement scenario.

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LOGBOOK:WEEK TWO

The idea of having all of Stephanie's together in that scene would work well because after this scene was Stephanie's monologue in which we presumed she committed suicide in the end. Stephanie's soul would be represented by the other Stephanie's. This concept evolved from an earlier idea of making it plain to the audience which actors were portraying Stephanie. After the monologue, all the other Stephanies would hover over Lucy (who was playing Stephanie) and leave to represent her letting herself go - suicide. Joining Group 1 was also beneficial to our performance since we were able to acquire different suggestions on how our movement components should look. We then moved on to the final scene, the last movement piece, and came up with the concept of having an ensemble with the cast after the disclosure of Alex's burial. Vonzelle, Lucy, and I decided it would be an ideal way to wrap up the characters and their tale. I believed it would be evident to the audience if we used two movements from the prior movement pieces for the ensemble. I felt it would be an interesting finish to our performance, revealing the various relationships and issues that occurred throughout the play by grouping my classmates with a set character. These ideas were a little difficult to come up with because I wasn't sure if our director would approve of the movement parts. I reminded myself, however, that even if our director doesn't like the idea, we can still include some of the movements/pieces into the sequences. We created a lot over the two strike days and even if it wasn't liked by the director, we showed our dedication and our efforts to come in. Facing the challenge of strike days was energizing, and ultimately emerging with a well-documented record of our achievements gave a great sense of satisfaction for both myself and my group. In addition, we used the two strike days to commit to our practice and work on whatever we could in the absence of our class. It was difficult, but Lucy, Vonzelle, and I were able to get assistance from the other class to ensure that our ideas would fit with the music we had chosen for our movement pieces. We used these two days because we were behind on the movement elements and wanted to help as much as we could. Even though some of the movements we devised were not implemented, we were recognized for our efforts. This, I believe, helped me comprehend what it takes to be fully focused and dedicated to this performance, especially because it was coming up the next week. Despite my concerns, we were able to complete the performance on time and create an experience that depicts the adolescence of youth and the corruption of society.

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LOGBOOK:WEEK TWO

This lesson was difficult for me because there was no teacher to assist me in helping me with my scene in the artistic view my director had. This made it difficult because I couldn't find a set stage layout for my scene to practice with. Only my imagination and creative thinking allowed me to develop my scene and how I planned to present it. This is advantageous since it encourages me to improve my creative and artistic abilities, allowing me to think outside the box rather than relying on simple and basic ideas for a performance. This will help me later in my career if I ever want to be an artistic director, as it will allow me to consider the creative vision of theatre performances. For today's dance lesson, we went over the many dance pieces that my friends and I devised during the two strike days with the teacher, director, and class. After we showed the pieces to our director, she appreciated the ideas, but she thought they were a little too much for such simple scenarios, almost as if we were overly inventive. As a result, we needed to cut them down. Scene 10, with all of Stephanie's, was the only scene that stood out well for our play. Our director liked the concept of identifying who was portraying Stephanie to the audience. This moment was also incredibly powerful because it depicted a cult-like devotion to Stephanie's character. This scene, I believe, was effective because it demonstrates Stephanie's instability and how disturbed her mind is, demonstrating how damaged the adolescent society is. We wanted to make an artistic endeavor that displayed how dark and disturbed her mind was, because the mind can be a dangerous place that can harm our mental health. The monologue that followed this movement piece was intended to show Stephanie's perspective on the world and how she believes life has become miserable. We started by developing our concept for the first movement piece. Our dance teacher and director liked the idea of angels on the sides, almost like guards at Heaven's Gate. They still needed some form of lift in that sequence to make it simple yet seem complicated and fascinating, as well as to assist with the idea of angels - the idea of flight and his spirit being lifted to Heaven, revealing the sense that he is at peace. This concept of an angelic death and entry into paradise contrasts with the event of his death and how brutal it was. We also thought it would be a nice idea to have two angels accompany Stephen's spirit, almost as if they were guiding him. This was difficult to present to the class because some of our peers were not present, and others were not participating or listening to us as we expressed our views.

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LOGBOOK:WEEK TWO

However, as we described our thoughts and tried a rehearsal, it became easier, and I didn't feel so rushed to teach an entire movement piece as we simplified our movements while simultaneously conveying a profound message of death to our attentive audience. We then moved on to teaching our peers who were not present during the strike days the movement piece we prepared for scene 10. At first, we considered yelling, "All philosophers have only interpreted the world; the point, however, is to change it." However, we then considered doing a voiceover with the sound utilized at this moment. This created a menacing, fearful, and spiritual mood by having all of the Stephanies in this scene walk purposefully, almost like a cult, which also fit nicely with the first movement piece with the angels. We went through the last movement piece after going through the scene with all of the Stephanies on stage. Our director thought our ensemble ideas were great, but they were too intricate for our play and didn't make sense at the end, as it almost seemed like we were introducing a whole new scene. She believed it would be too messy for the finale of our show. This was initially difficult because my friends and I had spent a significant amount of time coming up with three separate movement pieces on our own, but we were able to comprehend what our director intended for the show. Our director, on the other hand, liked the thought of showing the various relationships at the end, so we included some of our choreography in the final scene when Alex was preparing for the burial. We chose a significant movement piece between Stephanie and Stephen, Stephanie and Cat, and Stephanie with herself. We began today's lesson with a series of vocal warm-up activities. We began by breathing through our stomachs and producing a siren to warm up our voices and ready for the exercises that followed. This was beneficial since it let me recognize how effectively I can manage my breathing. This is vital in acting since it allows me to produce realistic responses to my surroundings and environment while acting, resulting in an authentic performance. This was initially difficult for me because I couldn't manage my breathing well. However, by consistently practicing, I discovered that the more I breathe in through my stomach, the more air I inhale, allowing me to exhale more controllably. This also helped calm any nerves that I had and any tension being released.

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LOGBOOK:WEEK TWO

We then tried attempting to say tongue twisters. We started slowly, which I found simple, but then we tried to speed things up. This taught me that using my vocals was not my strong suit. This is because when I tried the tongue twisters quickly, I was mispronouncing the words, making it almost sound like I was mumbling, making it difficult to comprehend what I was saying. I also discovered that my jaw was stiff, making it difficult to utilize my mouth to pronounce every single letter. After several attempts, we decided to communicate through our stomachs rather than our throats. This was difficult for me because I was having difficulty concentrating. I felt like I was concentrating on my abdominal muscles. However, I am confident that by practicing more frequently, I will be able to master the skill. This ability also helps me with projection because when I want to shout a line, I normally strain my voice if I use my throat, so by acquiring the skill of speaking through my stomach, I will be able to project my voice well without injuring myself or my vocal cords. We were then directed to move to one end of the classroom while Ryan went to the other. We were then instructed to repeat the tongue twisters after him, speaking as loudly as possible through our stomachs. We then proceeded to our director's rehearsals. We went back to the rehearsal we were doing on day 3 when she called us in the order of the scenes. So when it was my group's turn, we went on stage to rehearse our scene. After learning that Stephanie and Cat possibly planned to mess with Stephen before they met up, changed our perspective on the scene and how we wanted to portray it. We went over the scene several times to ensure that our movements were recalled and that our words were delivered with projection and confidence. We also practiced using the props and bringing them on stage when it was our cue to ensure smooth and rapid transitions from scene to scene. At first, the actions I was given were a little uncomfortable for me, especially because they were in front of an audience, but after going over them several times, I found them easier to portray. This scene also encouraged me to step outside of my comfort zone and try fresh methods of scene execution. It also opened my mind to creative freedom, which will be beneficial to me in the profession. Overall, this scene was beneficial to me because it took a dramatic and sinister turn, especially considering the outstanding performance that was given. I was able to get above my scene-related difficulties and my fear of not finishing the play on time with the support of my friends and teachers. Considering how easily I may become distracted and lose motivation, this demonstrated my ability to pay close attention.

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LOGBOOK: WEEK THREE

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LOGBOOK:WEEK THREE

We warmed up quickly in today's class so that we could get right into rehearsals for our show, which is in two days. We started by playing two rounds of "EastEnders," a brand-new game that was shown to us. This was a focus game that also helped us develop our characters, allowing us to set aside our anxieties and thoughts to fully concentrate on practicing and refining our play scenarios. I was able to better distinguish Cat's features by getting inside her thoughts and comprehending my character through this exercise, which also helped me get ready for the next challenge. We immediately started working on an assignment that involved gathering with other classmates who portrayed the same character to me and drawing a role for the character of Cat on the wall. I expressed what I believed she thought of herself on the inside and what other people thought of her outside. We perceived Cat as a self-assured individual who understands her values and her aspirations in life. We made this assumption since we are aware that she will shortly be attending university, where she will be able to further explore her studies and career. We also advised her to use her attraction to draw in what she wants and other people. For instance, she may play with her hair to give the impression that she is innocent or walk with a straight posture to demonstrate her wealth. We all concluded that she had parental issues. She had to grow up without any affection or support because her parents might be preoccupied at work. We concluded that although she is confident in herself, she may find it difficult to be herself with some individuals. As a result, she may first appear reserved if she feels that someone will make fun of her or negatively judge her personality. This may also be the cause of her blunt responses and her persistent commitment to speaking the truth. We have concluded that her parents were constantly busy, which would have allowed her to associate with the wrong people and be influenced, thus reinforcing the idea that young people want love and attention rather than neglect. She might also be someone who needs to feel like she belongs because she didn't have that feeling as a child, and as a result, she might put herself in unnecessary circumstances. This may also be a typical explanation for why younger individuals act inappropriately or get entangled with someone. They believe that their actions will make them feel as though they belong somewhere, which is not only exploiting their emotional state but may also create future enemies. Because of this, Stephanie would keep her actual self to herself until she was at least somewhat at ease or confident that no one would judge her. It also demonstrates how depressed young people have gotten; they could think that if they are true to who they are, no one will accept them. Negative aspects of life, social media being one of the major ones, have affected society. The younger generation should be free to express themselves without feeling obligated to hide their mental health behind feelings of embarrassment or shame.

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LOGBOOK:WEEK THREE

We started today's lesson with a relaxing morning of calming music and a brief rehearsal of our lines for our scenes with our partners so that we could go straight into the tech run and complete the entire show. While I waited for the rest of my group to arrive, I began to go over my lines. For Cat, Gracie, who was the costume designer alongside Bella, suggested that we should wear pink shirts with belts and skirts with tights and converses. This was done to ensure that the audience was aware that more than one person was portraying the same character and could recognize the shared gestures we used. After that, I started searching for the props and set design I would need for my group piece to make sure we had everything ready and placed them on the prop table in preparation for the show's run-through. After everyone was in, we started the tech rehearsal to work out the lighting and sound cues as well as any necessary adjustments for the scene. Since this was my first tech rehearsal for a production, I wasn't sure what to anticipate, so it was a little difficult for me. I was a little nervous because there were no queues for each scene at first, which made things a little hectic. Even though there were times when Kamaari would forget his lines even if they were small, it still made me a bit anxious when we would perform in front of an audience. This made us rehearse our scene multiple times, which added to my anxiety. Additionally, there was a lot of background noise, which made it challenging to concentrate and hear our director. Because I was so worried about the show, I became more anxious when I would find out how people were forgetting their lines which made me believe that I would do the same. When I was working on my group scene, the lighting director chose lighting that referred to the hour of dusk because it was indicated in the script; this gave off a quiet and soothing vibe that got more chaotic due to the circumstances of the scenario. Stephanie used a rock she discovered to position herself over Stephen at the murder scene. When she started hitting him in the head with the rock, he would jolt, seeming as though he had been struck in the head. I made the sound of his head being smashed by a rock with my palm to give the impression that he had been killed to make this scene feel more authentic. The lighting would flare at each blow to his head by the time Stephanie delivered it, intensifying the already creepy atmosphere. Because of this, our scene seemed more potent because we knew that we had used the lighting to forward the play's plot. After our scene was over, our director felt it would be a great idea to have Bella and I drag Kamaari off stage to add realism to the situation. The scene went well, and I felt a little relaxed and more optimistic about the performance. It gave me confidence that things would work out since I knew that my peers were feeling the same way about our scene.

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LOGBOOK:WEEK THREE

We decided to do a full run-through of the play to see what it would look like after refining all the scenes and scheduling the lighting and sound in time for the performance. Because of my nervousness, I was very anxious about this and worried that I wouldn't do well in my scenes. I did, however, feel less pressure and anxiety after doing it as a rehearsal the first time. This taught me that I could reduce my anxiety and increase my confidence by constantly reminding myself of the improvements I have made. I was worried a few times when a member of our group forgot their lines, but I was also excited because I kept telling myself how wonderfully I would do in the show, despite the scene that I was performing. I understand that developing confidence takes time, but I was inspired to keep working hard and not allow things to get to me by constantly reminding myself of the incredible work I was doing and how resilient I was. There will be moments when I experience anxiety and panic. Before our first performance, I experienced a panic attack, but I was able to overcome it with the support of my classmates, who all gave me encouragement and uplift. I appreciate all of the assistance I received throughout that time and will apply their advice to my next performances. As a result, both of our performances exceeded our expectations, and the crowd gave us a lot of great feedback. Even though we only had two weeks to accomplish this performance, it demonstrates how everything is possible if you are determined and committed to what you are doing. I also learned new abilities that I had no idea I had, including acting like a different person and pretending to be someone I was not. As in the situation of Cat, who attempted to propose a threesome to Stephen but also engaged in murder. It displays my versatility as a performer and my ability to take on challenging roles like this one. It also demonstrates my capacity to embrace playing a variety of roles; after doing some research for my part, I felt more suitable to play Cat. I did see some similarities between Cat and myself, such as our self-assurance and clarity of goals. I am still confident in who I am and what I want to do in the future, even though Cat has far more self-assurance than I do. My abilities and commitment to what I want to do will both grow as a result of this course, and I will use all I've learned going forward. Even while Cat and I share certain similarities, we also have some differences. When it came to taking on responsibilities, I learned to search for these kinds of comparisons. This was revealed to me when I saw the play "Refractions," in which one of the performers advised us to identify both the similarities and differences between our characters and ourselves. Learning about the character you're playing will excite you and assist in shaping your attitude to become that persona.

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MORNING

03

SECTION THREE: EVALUATION

EVALUATIONS: SCENE 4

When I started working with my group on Scene 4 rehearsals, I ran into a lot of challenges that made me nervous about the performance. One recurring worry was that, even with my good memory, I felt as if I was going to forget my lines. My anxiety was increased by witnessing peers frequently stumble during unscripted rehearsals, especially given the length of our scene and the significant quantity of dialogue I was given. Anxiety about the approaching stress had me mentally rehearsing endlessly, going over my lines word for word for fear that I would forget them. My confidence was in the potential of being overshadowed by the burden of overanalyzing. Nonetheless, the resolute assistance from fellow students and teachers was crucial in reducing my anxieties. My confidence was much increased by reassurances that I was competent and well-prepared. A pivotal moment occurred during the tech run, where we performed the entire scene using lighting, props, and no scripts. Counting to ten and other tactile actions like fidgeting with hands or jewelry became my primary technique when it came to anxiety management tactics. These techniques helped me maintain my composure and lessen panic attacks, especially in tense backstage situations. When I thought back on both performances, I could feel the relief of going through without forgetting my lines or actions. I validated my capacity to perform at my best by acknowledging my development and reminding myself to enjoy the journey and realize there was nothing to worry about. After all, our team's hard work paid off with a powerful performance that matched our original goals in terms of powerful vocal delivery and memorable actions. In the future, I plan to experiment with vocal variation to improve my delivery and look for new creative outlets to enhance the scene's emotional impact. This introspective technique encourages a dynamic approach to my role and contributes to the continued growth of my acting skills, functioning as a catalyst for continual improvement. With perspective, I am sure that our scene was performed well and successfully communicated the emotions and concepts that we wanted to get across. Our performance was refined over a long period, which gave us confidence in our skills and the knowledge that we could deliver without making mistakes or containing unfulfilled regrets over wasted opportunities. While it's important to set goals for future performances, understanding that we gave it our all in this particular performance is a significant step in the right direction towards becoming a successful actor. Accepting the path and realizing how committed we are allows us to stay on the right path, allowing us to keep improving as actors.

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EVALUATIONS: OVERALL PERFORMANCE

Our group's determined commitment and perseverance are what made our performance so successful. We took on the difficult goal of planning a full play in a short amount of time—two weeks—with focus and drive. The show required careful planning because of its strong and sinister underlying message about society, and our group's dedication was clear in every aspect of our work. The journey did not, however, come without difficulties. The intense pressure to not just memorize our lines but also create a scene that was both interesting and thought-provoking was one of the main difficulties we faced. The difficult work of balancing memorization with daily logs, themes, and given circumstances resulted in a sense of urgency and a decline in motivation, particularly during the two strike days. The difficulty was increased by the impression that performing groups were given different amounts of time. We were under pressure, and we struggled with the idea that our performance might not be as professional or captivating as we would have liked. Despite these worries, we faced the pressure head-on, taking care of our fears and getting our priorities back, especially on the days we were absent. As a class, we came together in the face of difficulty because we had similar beliefs and passions. It took a team effort to get over the fear of failing, which promoted optimism and a sense of closeness. We focused our efforts on carefully following our director's instructions and worked well together to create a performance that the audience found moving. This experience demonstrated the strength of drive and devotion and showed that even in the most seemingly hopeless circumstances, a team effort can produce amazing results. The entire group found great satisfaction in the performance, which turned into a monument to our combined perseverance and will. Our group's resilience and feeling of accountability in the face of many difficulties enabled us to not only face but also get past the difficulties that arose during this time. Encouragement and confidence were crucial components of our team dynamic as we worked together to come up with concepts and set guidelines for dealing with difficulties with props, lighting, staging, and memorizing lines. Despite the pressure, this teamwork cleared the path for a meaningful and purposeful show. There were undoubtedly moments of annoyance and distress, especially when there was a lack of focus and intensity. But these incidents served as tests for our cooperation. Though there was some disagreement at first, we developed from a class of individuals into a cohesive unit. The journey highlighted the resilient nature of our group relationship by showing that we stood by one another even under pressure and hardship. The outcome of unity demonstrated our determination to support one another through difficulties, even in the most challenging situations.

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BIBLIOGRAPHY

https://www.waterstones.com/book/morning/simon-stephens/9781408173398https://www.bing.com/search?q=simon+stephens&FORM=AWRE&showconv=1https://bigthink.com/13-8/why-death-matters/https://www.britishtheatreguide.info/reviews/morning-lyric-hammersmi-8015https://www.mind.org.uk/information-support/guides-to-support-and-services/bereavement/experiences-of-grief/ https://www.ayoungertheatre.com/edinburgh-fringe-review-morning-simon-stephens-traverse-theatre-lyric-hammersmith/ https://www.believeinmind.com/self-growth/time-is-precious/https://www.bbc.co.uk/bitesize/guides/z683rwx/revision/3https://www.theguardian.com/culture/2012/aug/06/morning-edinburgh-reviewhttps://www.merriam-webster.com/dictionary/nihilismhttps://www.britannica.com/topic/nihilismhttps://www.psychologytoday.com/us/blog/the-human-experience/201610/the-impact-death-our-everyday-liveshttps://curiousdesire.com/reasons-why-time-is-important/https://www.bloomsbury.com/uk/morning-9781408173411/

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