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By: Lucy Pinho-kadlec

Performing Arts: Portfolio





Konstantin Stanislavski

My Logs/Rehearsals



Weekly Targets

Thank you!

Methods, Tequniques, Skills And Much More...

Section 1: Research & Understanding

Pages 4-18

Stanislavski, born in Russia 1884, was a seminal soviet Russian theatre practitioner and playwright, who came up with different techniques for actors to use when performing/ making a performance/acting.He was influenced by the works of Russian playwrights like Anton Chekhov and Nikolai Gogol and wanted actors to use naturalism and realism when acting. He believed that “the actors should really inhabit the role that they are playing” meaning that they “shouldn’t only know what lines he needs to say and the motivation for those lines, but also every detail of that character’s life offstage as well as onstage.” This meant that actors would be able to have a connection with and portray their characters realistically and be truthful with their experiences, allowing them to also have new experiences themselves.In 1887, he was given his fathers approval and later became eminent, which meant that he was then able to spread his work and ideas/system for acting with the world, known as "method acting."He became into a habit of evaluating and making notes on his work to improve, which later lead him to writing major texts on the art of performance. For example, He wrote a book called “My life in art”, which is about “a fascinating window onto the actor’s mind, recalling his almost scientific preparation for each new role, his creative encounters” and his day to day struggles. Examples of other books he wrote include: An actor prepares, Building a character, and Creating a role. Stanislavski started acting at the youthful age of 14, consolidating his family's passion for perfroming arts. His skills were self-taught through watching his parents act. His name of "Stanislavski" came from a "fellow actor" he had met. 3 Years after he changed his stage name, he married Maria Perevoshchikova and they both pursued in the career of performance.

His techniques

  • 1863-1938
  • Born in Russia
  • Konstantin Sergeyevich Alexeyev
  • Co-founder of Moscow Arts Theatre
  • Created a system for acting
  • Wrote many texts
  • Was commited to realism

Konstantin Stanislavski - "The Father Of Acting"

Stanislavski came up with a method of acting, a system, which is made up of various different techniques, designed to allow actors to create believable characters and help them to really be present in the scenes and create a connection with their character, pushing them to engage with the character they play.He taught that actors must build a character's behaviour through specific, concrete, performable actions. One of his best known structures is applying the Fourth wall. This is an imaginary wall you put between the audience and the stage. This allows the actors to not see themselves on stage, but see themselves souly in the scene which then allows the audience to not see it as a performance but see it from a new perspective in comparison to Anthony Artaud, which is a practitioner that believes if the audience is uncomforable, he successfully created a powerful performance. With this being said he believes there is no fourth wall and the audience is a part of the performance. Therefore making Artaud's work a surealistic experience. In conclusion, Stanislavski allows his audience to be put in real life situations which creates an engaging and heartfelt story that the audience can relate to.This then leads to the second structure which is Target audience. This is when he thinks about who he wants to impact the most when the performance is being watched. This could be children, young adults, teenagers or the elderly. So what you tend to see in his performances is a demonstration of generational problems depending on the generation he chooses to target. Another one of his structures is known as "presence".This is when he believes that the story doesn't start from on stage but starts hours before the scene occurs in the characters life, which then corresponds to two of his techniques which are given circumstances (who,what,where,when,why and for what reason) and Objectives (the characters main intentions of that scene). This then allows the actors to put themselves in that situation to see how they would respond themselves.

Stanislavski's Structure

Emotional memory:A key feature of his system is the idea of emotional memory. This element requires utilising personal experiences and emotions to certain events that made the actors feel a certain emotion related to their character in a specific moment in a scene. This helps them in acting as the emotion can be used to trigger real and genuine emotional responses to the events in the peformance. By thinking of past experiences, actors are able to apply real emotions and bring truthfulness to their performances. Magic ifs:Stanislavski encouraged that the actors to answer the question "what would i do if i was in this situation?" By approaching acting this way, the actor is able to think about how his character would react to the situation as well as himself, allowing the actors responses to be authentic and truthful when performing, which is what Stanislavski was trying to achieve with his system. Objectives/Super-Objectives:To create believable and realistic characters, Stanislavski inspired actors to explore their characters intentions. Their objectives refer to the character's goals and reasons to their actions in the moment, whereas super-objectives are their bigger, long-term targets, usually their overall objective in the play. By undertanding these objectives that their characters have, the actors can successfully portray and reveal their characters desires and intentions when performing.

Given circumstances:Stanislavski believed that the context and different elements of a scene are important to help understand the environment and help actors be able to perform and portray a certain role with a purpose. This context of the play or scenes includes time, place, social cotext and the different relatioships between the characters. These circumstances are supposed to answer the questions of who, what, where, when, why and for what reason, so by thoroughly analysing and considering the given circumstances, actors will be able to build a strong foundation/meaning to their characters and performances and make it realistic, which was Stanislavski's goal.

Stanislavski's Methods Of Acting

Physical action:Stanislavski drew attention to the importance of physicality and its connection to emotions when acting. He advised and encouraged actors to engage in exercises that utilised physical actions that related to the emotional state their character was in. This allows actors to reveal and convey certain feelings and emotions through their body and the movemnts/actions they do.Working as an ensemble:Stanislavski thought that working as a group allowed actors to work as one and helped them work on supporting one another, creating strong connections between peers. He believed that working as an ensemble helped them build on their communication and creative skills. He also believed that it would help them with their experiences as a team/ as one body, furhter helping them when acting together. Subtext:Stanislavski understood that there are many ways to deliver a line and many ways to interpret a line in a play, so he emphasised that there was an actual meaning and motivation behind the lines spoken and the actions used when saying the line, so the actors always had to be cautious of their tone and movements when delivering lines with a specific message.Relaxation and Concentration:Stanislavski emphasised the importance of relaxation and concentration in the performing arts industry. He believed that being present both mentally and physically was extremely important when acting and taking on the role of a character. He created many different exercises such as "emotional memory" to help release all tension and bring actors' minds to focus on the present allowing them to concentrate. This helps them create a strong relationship between them and their character. These techniques are still used in the modern day (21st-century) throughout the creation of a performance in order to understand the characters/roles we are given and come up with the context of the play. These various exercises allow actors to stay present when performing and helps them create a connection with the audience to convey a message through the story they show with realistic responses. For example, when rehearsing my monologue I used given circumstances to understand who my character was, and the story that I was performing. I also used emotional memory to source real emotions that I could use to create a real response to my surroundings. These techniques helped me succeed in portraying a realistic and truthful message to my audience, as I was able to create a connection between us.

Stanislavski's Methods Of Acting



Konstantin Stanislavski

‘Remember: there are no small parts, only small actors’​

Many review have been written about this play. Here are some of them linked below


What is the play about? It tells the story of a liberal, middle-class family in London who cautiously open their doors to a young British man of Middle-Eastern descent, John, on the night of a terrorist attack which kills hundreds across the city. He is different to them. He isn't what they expected. During this attack, 20 year old Imogen joins a campaign offering refuge to victims.What is the main storyline? Lynn starts by showing Imogen joining a hashtag campaign offering sanctuary to those caught up in the bombing. Her parents are unnerved by her impetuosity while her younger sister, Chloe, is strangely excited. When John duly knocks at their door, he turns out to be a mechanical engineering student in shock. John refuses to take off his coat, accept a drink or reveal the contents of his rucksack – suspicions grow amongst the family as to what role John has played in the events unfolding on the streets outside. Who is the writer? Cordelia Lynn is a playwright, librettist and dramaturg. She received the Berwin Lee Award, 2020, the Harold Pinter Award, 2017, and the Jerwood New Playwright, 2015. She wrote many plays such as Sea Creatures (Hampstead Theatre, 2023); Love and Other Acts of Violence (Donmar Warehouse, London, 2021); Lela & Co. (Royal Court Theatre, London, 2015); Believers Anonymous (Rosemary Branch Theatre, 2012); and After the War, which has been performed in venues around the UK and abroad.

One For Sorrow - Monologue

There are many themes revealed throughout the whole of this play. However, the main ones are Terrorism, Class, Racial Prejudice and Dysfunctionality within families. These issues were seen a lot in society during the time this play was written and are still seen as big issues till today. Terrorism: the unlawful use of violence and intimidation, usually leading to collateral damage. Class: a system of ordering society - people are divided into sets based on their status.Racial Prejudice: discrimination based on raceDysfunctionality within families: elationships between family members are tense - unhealthy, violent, unbalanced power dynamics between family membersIn the play these themes are revealed through the bombing that happens, initiating the whole play where Imogen volunteers and campaigns to help victims of the violent crime commited. Lynn’s play intelligently explores the culture of fear in an age of terrorism by showing how an outsider not only intensifies the conflicts inside a family, but also makes each of the youngsters, and especially Imogen, question their own worldview. Imogens family is one of Middle-Class, a part of patriarchy - which wasn't the worst at the time, however still is a problem in todays society. Because of their privilege, the family thinks of themselves as good people, but that doesn’t mean that their prejudices are very far from the surface. This is shown when they disagree with Imogens choice of helping the victims of the terrorist attack. The fear strips away the veneer of civilized behaviour, and as this family realizes that they have relatives caught up in the attacks, the emotional temperature rises.These issues oppress and pressure Imogen as the young empathetic girl in the family, revealing her lack of power and control in society. Her attempt to aid and give shelter to victims is disregarded by her parents, due to their lack of empathy and trust in Imogen. The middle class family are one of a white background and so Lynn utilises their family to reveal the key issue of racial prejudice when John, a foreigner, knocks on their door for help. Although much of the play is naturalistic, Lynn writes with a distinct touch of absurdism and there is a smart flavour of satire in many of the exchanges. The dark shades of violence and the impact of fear and terror on our psyches is recognizably real. "Conversations circle round ideas of safety, freedom of speech, violence, order andsociety. There is a generational divide between Imogen and Chloe, schooled in internet activist groupthink, and parents Emma and Bill, complacent in their life experience and property-owning. They are all convinced they are right." Said by Hannah Greenstreet.


Imogen's character in the play "One for Sorrow" by Cordelia Lynn is a central figure. Imogen is a teenage girl who experiences a profound transformation throughout the course of the play. At the start of the play, Imogen is shown as somewhat isolated and struggling with her identity. She feels disconnected from her peers and her family, navigating feelings of loneliness and disillusionment. However, as the play progresses, Imogen begins to form a connection with another character named Kieran, who is a refugee seeking asylum in the United Kingdom. Imogen's experiences with Kieran challenge her worldviews and force her to confront the injustice and cruelty present in society. This leads to a significant awakening within her as she learns to empathize with others and reevaluate her own privilege. Imogen's growth is a key thematic element in the play, emphasizing the importance of compassion, understanding, and the power of human connection amidst adversity. As the story unfolds, Imogen faces various conflicts, both internal and external, which ultimately shape her character and contribute to the overall message of the play.


Many review have been written about this play. Here are some of them linked below

What is your play about? Love steals us from loneliness, written by Gary Owen is about a love triangle between two boys and a girl. Catrin, a nice Welsh girl from Bridgend, is in a long-term relationship with Lee, a boorish but attractively vulnerable jackass. Scott is Lee's sensitive best friend, and he's in love with Catrin, however she thinks he's gay. It is a play about the stupid things you do when you're fucked. A night out. Friends, alcohol, a shit club, a strop. But tonight is different. Tonight, will change things forever. The play is about a story of love, loss and grief and the ripples that one bad decision can send through the years, revealing the themes of love, trauma after the loss of loved ones and consequences of immorality. What is the main storyline? Two people – friends of friends – are chatting in Bridgend, finding out about each other through admitting they already know more than the other one thinks. Catrin (drunkenly slurred) takes off her knickers and squats to urinate, whilst Scott (played with an awkwardly confident unease) looks away before lending her his father’s handkerchief to wipe. Then, one night, everything changes. Their lives change. And then, through intertwining narratives, we’re exposed to the aftermath. Who is the writer? Gary Owen, writer of “Love steals us from loneliness” is a Welsh playwright and screenwriter, and winner of the 2003 Meyer-Whitworth Award for new writing for the theatre.He is a creative associate at Watford Palace Theatre, and an associate artist at the Sherman. His plays have been translated into more than a dozen languages and produced all over the world, and are published by Oberon.His other plays include Crazy Gary's Mobile Disco, The Shadow of a Boy, The Drowned World and Mrs Reynolds and the Ruffian.

Love Steals Us From Loneliness-Duologue

There are many themes revealed throughout the whole of this play. However, the main ones are love, loss, grief and consequences of bad decisions that can last years. These strong-headed themes are daily struggles for many people. For Example, the loss of a loved one can cause trauma and feelings of guilt. These struggles also put people in a state of denial, one that not only affects themselves but the people around them due to the change in their behaviour from the trauma. Love: an intense feeling of deep affection that grows through time and understandingLoss: Someone is out of sight but not out of mind. There is no possible way of bringing them back. This opens peoples eyes to realise how many limits we have in life and how important the people we lose are once we lose them. This can lead to feelings of regret. Grief: It always works differently for everyone. Struggle to accept the loss of a loved one, a long process/ journey that everyone goes through. Later being able to accept and let go of the sharp pains in their chest. Though this theme and emotion is different for everyone. We all have our own experiences. Some may go into denial, whereas others may just struggle to talk about them or find addictions to cope with the pain. Consequences of bad decisions: Can be both positive and negative. Some mistakes in life that you make may have a negative outcome but with a good intention behind it and dealing with the consequences doesn’t mean suffering or punishment. It can also mean growth and a learning curve and self assessing. It also helps you with teaching yourself what not to do when you’re back in that situation. Just because something seems like it’s bad doesn’t mean that you can’t build a character or work towards the future that you can adapt to.Mostly, the play is a meditation on death and its ramifications - Loss and Grief; particularly the unexpected death of people who seem too young to die, echoing contemporary issues in Bridgend at that time.The first act focuses exclusively on their young lives, expectations, and emotional confusion where they both admit to having underlying affection for one another - showing the theme of love, only seen as a love triangle with complex feelings of affection which later causes damage. Gary portrays the struggles/issues with these different powerful and inevitable feelings and themes while also implementing some comedy - which can almost be described as a black comedy. The play provides a window into the lives of teenagers on what starts as an ordinary night out and its events cause ripples that affect the next 40 years. It follows the journeys each character makes after the fateful accident. The recurring Halloween theme serves to shore up the darkness of grief and loss, symbolising the ghostly chain of one death to a group of people. This theme of halloween really helps portray the theme of loss and grief due to the theme of death and darkness during halloween - this also helps foreshadow the sudden trauamatic event that follows.


Scott's character in the play "love steals us from loneliness" by Gary Owen is revealed to having a strong but awkward relationship with Catrin. He seems to have developed strong feelings for her. When he confesses his love for Catrin, a life changing event caused her to pull herself away from him. Despite this event happening, his feelings for her only grow stronger, making him attempt to reach out continuously. This helps portray his deep affection for her. His relationship with Lee is not portrayed, therefore we do not know how close Lee and Scott are, affecting our opinion on whether Scotts feelings for Catrin are wrong.

Catrins character in the play "Love steals us from loneliness" by Gary Owen is a central figure - one part of a complex and troubling love triange. Catrin is a youthful teenage girl who struggles through the different themes of loss and grief of a loved one. At the start of the play, Catrin is shown as somewhat innocent and stubborn. She subconsciously struggles to come to terms that she has deep feelings for two guys and shes not willing to come to a decision to who she ultimately likes. She is first shown with Scott - an element of the love triangle. They seem really close, although there is some awkward tension between the two of them - especially after a night out.However, as the play unfolds, they grow a little distant due to the loss of their friend/boyfriend. Catrin later shows feelings of guilt and regret due to breaking things off with her boyfriend not realising that it would cause life to be taken. She feels that Lee’s death was directly occasioned by what happened with Scott at Halloween. The relationship between Catrin and Scott is further developed as Scott attempts to communicate with her while she distanced herself from him after his confession of love to her. Catrin's character helps present the story as the antonym of pretension and makes it feel all the more gritty, realistic portrayal of your average night down the town.The second half of the play reveals the characters changed due to the loss of the loved one. This changes everything for the characters, so they unleash a torrent of grief on the audience.


Stopgap Dance Company creates exhilarating dance productions for national and international touring. Stopgap is committed to making discoveries about integrating disabled and non-disabled people through dance.​ Within our practice Stopgap use a lot of imagery. Lucy's choreographic style is often disjointed, awkward and eclectic. She doesn't like the dance to be predictable. This encourages dancers to experience different textures. ​

The dance company


Lucy originally trained in Dance and Musical Theatre at Bird College. After a year of many attempts to audition and fails, choreographer Maxine Doyle (Punchdrunk and a visiting lecturer at Birds) invited Lucy to audition for Stopgap Dance Company. ​Working as a choreographer in a company of diversity, since 2003, has allowed Lucy to develop and encapsulate her love for portraying and revealing human stories through dance.

Who is Lucy Bennett?​

Vicki is the founder of Stopgap Dance Company, in 1995. She graduated from the University of Surrey and began working for Stopgap in 2000. ​ She is involved in the national debate as she wanted to change society's expectations of people to dance. she wanted to open opportunities for those who are disabled

Who is Vicki Balaam ?​

Dance - Stopgap Company research


Artificial Things is the debut stage production of Lucy Bennett, who has been consolidating the company's artistic vision since her appointment in 2012. Under Lucy's direction Stopgap Dance Company has further sharpened our artistic focus to deliver evocative and stunning performances.​ The embryonic image for Artificial Things as a whole was a snow-covered urban landscape with an isolated figure perched on a collapsed wheelchair. This figure is being observed from afar as if through a snow globe.​ The mysterious paintings by the Serbian artist Goran Djurovic also influenced the design, costume and choreographic images within all the scenes.​ The dancers' personal experiences provided inspiration for the choreographic tasks.​

Dance - Artificial things

My daily Logs, Feedback, Targets and Much more...

Section 2: process and rehearsals

Pages 20-31

Day One: Memory games: We began by starting with a warm-up to challenge our memory skills. We did this by playing a ball game which forced me to push my memory skills and sharpened my focus to remember the people I chose, preparing me for performances, later on, where I would have to remember lots of lines. This exercise helped me experience what it's like to multitask and push my brain to a point where I was thinking about 3 things at once. This links to acting as, as an actor, I need to be able to remember my lines, my stage directions and my timings. This also gave me a sample of what elements it takes to create a production in a given time period. Despite this exercise being a little challenging at first, I persevered and succeeded as it compelled me to get out of my comfort zone. In addition to this, we did another exercise where we had to walk around the space and then mimic someone else’s walk, subtly, so they wouldn’t notice. This then pushed me to use my imagination and create a character in my head. This allowed me to work on my improvisation skills by portraying a certain character on the spot, challenging my focus and acting skills to prepare me for performances.Nursery rhymes: After our warmups, we were given a nursery rhyme as a stimulus and had to come up with a short performance, that we were later going to show the class. We were put into groups and we had to work together and come up with a storyline depending on our nursery rhyme. My group, Lucy Gracie and Bella, were given the “incy wincy spider” nursery rhyme as our stimulus and we used it as inspiration, so we decided that our storyline would be a girl (the spider), who tried hard in her exams but then failed and was mocked by another girl (the rain), however, was given another chance by the examiner (the sun) allowing the girl to succeed.The reason we chose this metaphorical adaptation was because the storyline allowed us to convey a message to our audience that just because you fail once, doesn’t mean you fail twice, so you should always stay resilient. This short scene allowed me to focus on working on my teamwork and imagination skills. Moreover, it put my brain to work, forcing me to challenge myself by working with people I don’t often work with. However, when performing this to the class, I broke character as it was a little challenging to get out of my comfort zone and turned my back to the audience a few times. These are things I hope to focus on and improve in my next lesson. Day Two: Leadership and objective exercises: We began with a warm-up to teach us about objectives. We did this by playing a chair game and we had to use eye contact to communicate with one another to see who would move each time to fill the empty chair, stopping her from sitting down. This was challenging and chaotic as everyone’s objective was to sit on the empty chair so we all started running towards the chairs and didn’t take time to communicate and see who would move each time. We then attempted it again and again and managed to hold it for a longer time each round. Every time we tried, my communication with my peers improved.However, without someone leading the group, it was still really chaotic. So, the teacher named me as the leader, meaning only I was allowed to say who would get up from their chair and move to the empty one, including moving myself. This helped me improve my leadership skills and allowed me to keep the game under control so that it wasn’t so chaotic. This also helped me work on my communication skills and allowed me to get out of my comfort zone which helped me build my confidence. After our warmup, we were given a task of finding 10 defined ways of sitting down and 10 different ways of standing up. During this task, I was able to use excessive gestures, movements and facial expressions when thinking about these different styles of sitting and standing. This pushed me to use my imagination and creativity, allowing me to explore the different movement choices I had. We then partnered with someone and were given the task of making a silent scene together that integrated these movements. This was a challenge as we had to show our relationship to the audience without dialogue, meaning that we had to make a lot of eye contact, which further advanced our communication abilities.

Daily Logs

Day Two - ContinuedStanislavski’s methods: Emotional memory We then started our next class with all the students lying on the floor, and focusing on their breathing, trying to clear their mind. This was so that we could release all tension in our bodies and feel completely relaxed. For example, our legs, arms and shoulders. Once I was in a relaxed state with no tension in my body, I became aware of my senses, which allowed me to be fully connected with my mind and gave me the opportunity to feel certain emotions. This was challenging at first as the emotions were a little overwhelming. We were then told to walk around the space (with the awareness of the emotions we were feeling) and started to portray the different situations the teacher was giving us. This technique made us practice improvising and pushed me to stay in character. It put me in different situations, allowing me to experience different scenarios, which, as an actor, is good as it gives me a glimpse of how I would react to situations I have never been in. This pushed me to get inside my character’s head and think about the way they would react rather than how I would react. This also allowed me to be present at the moment. Rather than just acting it.Using this method: In our following task, we were grouped in 2’s and 3’s and given a storyline that we had to use to create a scene that revealed real emotions towards the stimulus. My group, Lucy Darren and Olivia, was told to create a scene where we react to waiting from a job interview to see if we got the job. My use of movement really portrayed my character's feelings well which was inspired by Stanislavski’s idea of acting being “realistic”. This was a little challenging as we were not allowed to speak during the scene. However, it compelled me to show true emotions making it realistic. I thought carefully about how I was going to show that I was confident I was going to get the job. By applying Stanislavski's technique, I was able to use emotions I have felt from similar experiences and was able to stay in character throughout our performance. Day Three: Dance journey: Our first dance lesson started with a warm-up to prepare our bodies and release any tension we had in our bodies. We then moved to explore the different components of dance. This helped me gain a deeper understanding of the abstract pieces we form with our bodies. Learning about the different components such as dynamics, space and relationships allowed me to set up a clear outlook of what we would be focusing on in lessons. After our warm-up, we were then paired with another dancer (student) to explore our creativity. We were given the task of producing a 20 second choreography using a variety of moves, such as drop, turn and slide. This task not only allowed me to gain understanding of my dance abilities but also helped me build on working as a team. Being given the opportunity to work with Alex allowed me to move out of my comfort zone more and adapt to working with different people. By working together as a pair, it gave me the opportunity to refine my ability to work as a duo. It also allowed me to create a connection between me and my dance partner to help convey a relationship between the characters we were performing as. This exercise made me get into my character's head for me to portray who my character really was and her purpose. However, at first it was a little challenging to reveal certain emotions my character was feeling through our choreography.

Daily Logs

Week One:Targets for the next week:Overall, I was able to work on and delve deeper with my characterisation skills and was able to maintain focus. However, to understand Stanislavski’s use of acting techniques, I will explore and research more about him in order to gain knowledge of the different ways he approaches acting and his rules. I will practice different exercises so I can fill myself with knowledge of these techniques to apply and use them to all my performances. This will help me transform and improve my acting skills, allowing me to portray a clearer message to my audiences. I will also still continue pushing myself out of my comfort zone so I can build more self-confidence. I will do this by working with different students and keeping an open mind. I will continue to challenge myself. I understand that building confidence takes time and effort. It requires pushing past any fears and embracing the challenges I face. I think that by consistently putting myself out there and participating in activities, I can slowly build the confidence I need to succeed in my performances. It is crucial for me to stay committed to this goal. I believe that the only way I can build confidence is by constantly reminding myself of the challenges I have faced and succeeded in throughout my learning process.Overall, I think I was successful during dance, as I acknowledged my dancing skills and was able to embrace working outside of my comfort zone. I was also able to use my imagination really well and felt more comfortable working with someone I don’t usually work with.I think I still need to work on pushing myself more out of my comfort zone, so that I don’t feel awkward and uncomfortable with the activities I participate in. In addition, I think that improving on showing emotion through my dance piece would help me sharpen my dance skills. I believe that pushing myself outside my comfort zone will help me boost my confidence and will push me to be more open-minded. Seeking feedback from my peers and understanding their views can provide me with enough knowledge of where my weaknesses and strengths are. Being open to constructive criticism allows me to improve my weak areas of performance and develop skills. Moreover, I engage in researching and acknowledging different exercises and techniques that will help me when acting. I am continuously open to abstract ideas that are out of the box and will keep a positive approach to my performance. Keping myself updated about the most recent progressions in the performing arts industry will guarantee that I am equipped with the right knowledge to enhance my performance skills.

Weekly Targets

WEEK TWO:Day Four:Objective warm-ups: Today we began with various different exercises that prepares us for our practical tasks following them. These warm-ups not only helped me gain focus, later helping me stay in character when acting, but also physically prepared my body by removing any tension in my body. After these different exercises, we then, as a class, engaged in a game of hot potato and were given the objective of not letting the ball touch the ground. This task essentially needed the class to work as a team, an ensemble, and use our communication skills to understand and organise our movements. This really pushed my brain to focus on where the ball was and made me travel to it in order to stop it from hitting the ground. This allowed me to use my reflexes and made me stay on edge at all times. This allowed me to act on impulse. This is beneficial in acting as, when on stage portraying a character, I will need to improvise and act on impulse if something goes wrong or anyone forgets a line. This activity/game pushed me to work on trusting my peers which was a little challenging for me as I find it a little hard to trust people who I don’t know well. This will help me later, in the industry, as I will have to work with people I don’t know really well and will need to be more open-minded and comfortable. After these energising exercises, the class was divided into two groups and we were given the task of crafting a short, devising piece. However, rather than it being a normal performance, there was a small twist to it - every sentence had to begin with the phrase "and yes..." our group decided to create a dramatic scenario where they stumbled upon my lifeless body during a party. This activity served many purposes other than simply crafting an interesting performance. One important intention of this exercise was to help me remember specific key points while delivering lines. Quite often, on stage, actors can lose track of what they need to do and their objectives or even forget significant parts of the script. By having to remember to start with a specific phrase, it challenged me to think and stay focused during the performance. Moreover, this exercise allowed me to explore the power of storytelling. I had to find successful ways to link my sentences with my peers when beginning with "and yes" while also making sure the story remained authentic an interesting. This exercise challenged me to think outside of the box crafting are devised performance. In addition to all this, our group was able to work as a team and were able to use good communication skills. Each pair had to create authentic responses to the ideas and opinions of each other. By working with each other closely, we established a sense of trust, allowing us to create an engaging performanceDay Five: Today, the class began with a series of different stretches and warm-ups that were important in order to prepare our minds and bodies for the practical work in the lesson. These warm-ups mentally, physically, and emotionally, prepared us for the challenges ahead. After these warm-ups, we engaged in the game of hot potato once again. Once again, this require us to work as a team and communicate effectively while coordinating our movements to ensure the ball didn't touch the ground. Being able to act requires quick reflexes and thinking on our feet clear as we never know what situations may arise on stage, so being able to improvise is crucial. By playing this game, we were training our brains to respond quickly, developing a skills and abilities to handle any unexpected circumstances during performances. This task was a little challenging for me as I struggle to put trust in people I don't know well. However, I pushed myself out of my comfort zone and challenged myself to trust my peers allowing me to develop and enhance my skills.During today's lesson, we began by delving deep into Stanislavski's method acting - given circumstances. This is a technique designed to help actors develop and understand their character more. This technique helped me figure out more about my character (who, what, where, when, why and for what reason). The intention of this was to create a thorough understanding of the context of my characters situation. In order to practice this we were paired with a fellow peer and given specific circumstances that we had to work with.

Daily Logs

Day Five - Continued:In my case, my partner and I were given a task of creating a performance with the scenario of Frenemies seeing each other on the coldest day of the year. To successfully convey this circumstance we had to explore the who what where when why and for what reason of the situation. This involved deeply thinking and determining specific details of our scenario. As we communicated ideas in another we questioned the reasons as to why they were no longer friends: was it because of an argument, jealousy, popularity, or different personalities clashing? To delve deeper and understand or scenario more we thought about the timing that this situation happened. Was it in the morning, evening, during school or during a special event? This helped us craft or characters reactions responses so that they were authentic and truthful.Furthermore, we thought about what kind of relationship our characters would have as enemies. Establishing these dynamics added complexity and deep context to our performance. By thoroughly examining and exploring our given circumstances of being Frenemies on the coldest day of the year, we attempted to use our imagination and create an engaging performance. This was a little challenging as I really struggled to think of complex and deep answers for the context of the performance. However, by listening to my peer and her thoughts and ideas allowed me to think outside the box and pushed me out of my comfort zone. This exercise was influenced by Stanislavski's method, acting an objective of connecting to characters with real and truthful emotions, allowing me to portray my character and her relationship with the other character realistically. This helped me push my imagination and taught me to think outside the box.Day Six:The class began with a quick warmup and then moved on straight to performing our homework, which was to create another silent scene with the people we worked with on day two. However, this time we had to come up with our own given circumstances. In my group are given circumstances where a young boy sitting at a bus stop late for school and two friends running to the bus stop in the rain - one late for a job interview and the other late for work. We had to use our facial expressions and body language to communicate to one another, which at first I found challenging as it was hard to communicate without speaking to one another. I also found it hard as I still was not comfortable with working with them, but I challenged myself to work outside of my comfort zone. This exercise/homework pushed me to work on sharpening my movement and making it clearer so that the audience would be able to understand the story.After lunch break, we then moved on to start off with an intriguing activity. The challenged are imagination and creative abilities. We were given a rough script of a conversation between two individuals, however, it had no clear context. To tackle this, we were told to work in pairs and create a scene that aligned with our own perspectives on the script. when doing so, we were encouraged to utilise Stanislavski's given circumstances technique, so that we were able to figure out our own view of the context. Stanislowski believed that it was important to understand the circumstances in a scene, so bye delving into the characters, backgrounds, relationships and surroundings.

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Day Six - Continued:I was able to gain a deeper understanding of the scene. This technique not only helped me connect with my character but also helped me add depth to my performance. My partner and I were able to explore different possible circumstances the characters might be facing. This exploration led us to craft a scene with the secret of dating the friends ex. In the process of coming up with our own, given the circumstances from the script we were given allowed us to embed believable dynamics. By embedding these given circumstances into the scene it became more than just a script. It developed into a compelling story that was able to keep the audience engaged. At first, it was a little challenging as we had to use our creativity to come up with context and our own perspectives of the script but later paid off with an exceptional performance. By using the method of given circumstances when acting, we can create realistic characters and captivating moments in performances. By grounding our characters in deep given circumstances, we insured and immersing and engaging performance for both the actors and the audience membersDay Seven: Dance JourneyIn this lesson we began by warming up our bodies and releasing all tension. We then moved straight into working with our partner from the previous dance lesson. From a 20 second dance piece we were told to develop it another story behind it with a bit of complexity in our movement. my partner and I decided to do a contemporary piece to the song ocean eyes by Billie Eilish. We came up with the storyline of two best friends that grew up together and were always there for each other. I was able to communicate my ideas to my partner and we were able to work together to improve and develop our dance performance. Due to disliking previous piece my partner and I decided to completely change the movements as it seemed really basic. It was a little challenging to use our imagination and come up with a dance piece within a small given time, however, by working together we were able to create a successful and unique dance performance.Some of the movements were difficult as we had to move in sync for it to look authentic and fascinating. At first, we struggled to move in sync but by continuously rehearsing and practising we were able to perfect those movements. This pushed me to use my communication skills so that we were able to understand each other and perfect our piece.

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Week Two:Targets for the next week:Overall, this week was successful as I was able to work on a variety of different skills and was able to improve my focus and memory skills, which would later help me when acting, allowing myself to remember my lines more efficiently and effectively. I was also able to work as an ensemble, ensuring that I created a strong relationship with my peers. However, it was a little challenging as I had to push myself out of my comfort zone and work with different people. My goal for the next lesson to work on my characterisation and positioning when performing. I also understand that I need to work on forcing myself out of my comfort zone and gain self-confidence in the environment I'm in. This means I need to take as many opportunities given as possible to take part in the different exercises and games. By doing this I can deepen my knowledge and skills of acting while also feeling more at ease and comfortable with the people I work and engage with. This will only happen if I continue challenging myself, so I will push myself to participate in all activities. I was also able to work on and delve deeper with my characterisation skills and was able to maintain focus. However, to understand Stanislavski’s use of acting techniques, I will explore and research more about him in order to gain knowledge of the different ways he approaches acting and his rules. I will practice different exercises so I can fill myself with knowledge of these techniques to apply and use them to all my performances. Therefore, my targets for the next lesson are: To stay in character when performing, to be clearer with my movement when acting, to make sure that the audience can see my face and not my back, and to participate fully in all activities. I will also push myself to do more research in order to understand and enhance my knowledge on the different skills in Stanislavski’s methods of acting. This will ensure that I have a good understanding of the different techniques that I am able to use when performing/acting.I will continue to challenge myself. I understand that building confidence takes time and effort. It requires pushing past any fears and embracing the challenges I face. I think that by consistently putting myself out there and participating in activities, I can slowly build the confidence I need to succeed in my performances. It is crucial for me to stay committed to this goal. I believe that the only way I can build confidence is by constantly reminding myself of the challenges I have faced and succeeded in throughout my learning process.

Weekly Targets

Day Eight: Tension:Our lesson began with an exciting warmup to energise the group. We engaged in activities called "splat" and "grandma's footsteps" in which everyone engaged. These warm-ups not only raised our energy levels, but also allowed us to bring focus into the lesson. These exercises helped me loosen up both mentally and physically which prepared me for the tasks ahead. These activities also encourage me to focus and bring a good amount of energy to my following tasks. And there's also helped create a positive and fun learning environment which helped with my anxiety. After a warmup sizes, we delved into exploring tension and how to create it during a performance. To utilise our knowledge and put it into practice. We were given a stimulus of a funeral home scene. However, we were not allowed to speak throughout their performance but instead we had to use our body language to create building tension in our scene. at first this was a little challenging as we have to use a lot of eye contact which caused us to break character quite a few times. With this in mind, we began using our imagination to think of our own approach to the scene to create a tense atmosphere in the performance. We had to use the technique of the five s's, which are stillness, silence, sudden, stare and slow, to create a captivating and tension filled performance. In our group we practised using our facial expressions to portrait different emotions, such as hurt, fear, grief and pain. For me, I was able to use my past experiences to create authentic and realistic responses, allowing the emotions I conveyed to be truthful. By the end of our rehearsal, we successfully had created an engaging performance with a tense atmosphere in a funeral home. This exercise not only enhance the understanding of the concept of tension, but also revealed the importance of body language and movement to communicate, we realise that by using the silence could really intensify our scene and create an engaging performance for the audience, where they would be impacted by the emotions conveyed through the tension.Day Nine: Physicality and Body Awareness: Developing a strong awareness of your body and movements you do is crucial when conveying certain objectives/intentions. Every gesture or movement I do should have a purpose and reflect the characters, emotions and motivations. intentions can also be conveyed through contrasting body language or conflicting movements, adding depth and complexity to performances. In today's lesson we were given intentions and had to portray those intentions by only saying "yes" and "no". This was challenging at first, as we were limited with our words and how to use our body to convey a specific objective that we were given. However, by using my imagination and personal experiences I was able to create authentic and realistic responses to show the intentions of my character. The use of movement can be so simple yet, so powerful when it comes to communicating intentions effectively, even without the use of speech. We then changed the limited words to counting to 10. This helped me build tension and portray my objectives.

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Day Nine - Continued:I was also given a task of speaking in another language with the intention of trying to get the audience to understand what I was talking about. I had to speak in Portuguese and use my movement/gestures to convey to the audience that I was talking about how hard it is to be a woman in today's society. At first it a little challenging as no one could understand what I was saying, so I had to come up with specific moves that communicated what I was saying. I also had to improvise on the spot and say, whatever came to mind, as there was no given script. However, I overcame this challenge as I was able to think of basic things that cause life hard for women in today's society.By the end, I was successful as my audience was able to understand what I was talking about. This is helpful as it pushed me to use my communication skills through my body language which I will later benefit from in the industry. Day ten:Today, we started bye going back to the script between the two individuals and were given the task of creating a scene with a new perspective and secret. This time, my partner and I used our imagination and instead of using a basic story, we chose to use the story of two old women, who are friends, got drunk and one accidentally reveals a secret of having cancer and dying within the next few days. At first, it was a little challenging to use a body language at the same time of reading the script when rehearsing the scene. I also found it a little challenging as I had to push myself outside of my comfort zone to portray that I was old and drunk. However, this challenge was good for me as it helped me build my confidence a little more, calming my anxiety.By rehearsing this many times we were able to perfect facial expressions and movement as well as our vocal skills. This is because we had to stumble on our lines in order to reveal that we were drunk. This allowed our scene to have a little comedy, creating an engaging performance for our audience. We also annotated our script with our intentions after sectioning it. This helped us have a purpose, with our movement and body language. From this, I learnt that a characters objective never usually stays the same but changes throughout the performance depending on the situation the character is in. By the end of our short performance, I think I was successful at revealing my intentions towards my partner, to the audienceDay Eleven:When starting a dance session, warming up, please, a crucial role in preparing our body for movement so that we are able to prevent any injuries. These warm-ups also use a range of exercises that increase blood flow, stretch muscles and improve our flexibility. These warm-ups include static and dynamic exercises. In this lesson, our focus was centred around developing and improving our dance piece. with the amazing melody of "ocean eyes" by Billie Eilish as the soundtrack we used, we enhanced our movements and made it more expressive. We also changed some of our movements so that they were more complex. At first, it was a little challenging as for one movement, I had to trust my partner to pull me back up without letting me drop. This was challenging because I find it hard to trust people, especially when I don't really know them well enough. We also tried to find different movements that connected/linked with the lyrics of this song to convey our story and relationship. I was able to use past experience emotions in my dance piece which helped me create a realistic and truthful performance, one the audience was able to engage with. After finally crafting the unique dance piece we were able to perfect and sharpen our movements to make it clearer. Overall, I think the preparation and creation of the contemporary dance piece was successful as we were able to work as a team despite there being a few challenges throughout the making.

Daily Logs

Week Three:Targets for the next week:Developing a deeper understanding of character motivations. One of Stanislavski’s key intentions was to create realistic and authentic performances by delving deeply into the emotional aspects of a character. So my target for next week is to focus on developing my understanding of motivations, desires, and the inner life of a character to allow me to bring them to life on stage. Us as actors can work on different techniques, such as emotional memory, hot seating and magic ifs in order to connect with our characters. I will also work on developing realistic connections and interactions between my peers and I during rehearsals and performances. I will also actively listen and respond truthfully. Another target for next week is for me to be present in the scene so that I’m able to convey believable and truthful relationships on stage. These targets will help me develop my ability to adapt in the moment and create realistic responses.I will also continue with further research to make sure I have a solid understanding of the foundational skills and techniques needed in acting. By continuously setting myself, these targets to develop my skills through continuous practice and research I will be able to slowly build my confidence in my work and feel more at ease when performing. I will still continuously challenge myself to step outside of my comfort zone, and embrace my vulnerability, when portraying different characters and their motivations/emotions. I will build my confidence by continuously reminding myself of my successes and will let go of any self-doubt, so that I am able to explore and have many experiences on stage. By challenging myself, this way, I will be able to grow both in confidence and skill.Another one of Stanislavski’ objectives through his methods, is the highlight inner life of characters. He believed there was often unspoken thoughts and emotions beneath the surface of dialogue. By continuously exploring my scripts and my characters, given circumstances, I will add layers of depth and complexity to my performances. I will also use my body language and gestures with purpose in order to create tension.I will continue to delve in further research, so that I build a foundation of knowledge of different skills and techniques I am able to use when rehearsing of performing/acting.

Weekly Targets

Day Twelve:Today, we started by getting to know our duologues and the characters we would be playing. My partner and I were given a duologue from the play "love steals us from loneliness" by Gary Owen, a Welsh playwright. To begin our rehearsal process, my partner and I started by reading through the scene. We established the importance of thinking about and understanding the given the circumstances of the scene, helping us bring depth and complexity to our characters intentions, emotions and actions. We both explained our interpretations of the scene to each other and thought of the different techniques that would help prepare us for this duologue, such as emotional memory, what ifs and given circumstances. By analysing the given the circumstances of the scene, we were able to understand the different intentions behind each character and their behaviour. By analysing, we were able to delve deeper into the scenes context and connect with our characters in some way. We were also able to explore their relationships and environment. This helps me work on my Stanislowski techniques.I realise that in the play "love steals us from loneliness" at the beginning, Scott and Catrin have a strong, but awkward relationship as Scott has underlying feelings for Catrin, however, she has not realised. The things I found challenging in the process of creating this duologue was understanding that in order to create a successful scene it caused me to think outside of the box which I felt was not in my comfort zone. This is because as an actor I tend to only work and base my acting off the skills from my past experiences. I also found it challenging to understand the relationship between Scott and my character as the duologue we were given didn't provide any context to how they met. Therefore, when it came to applying Stanislavski's given circumstances I couldn't use it to the best of my abilities due to lack of information about the scene. it was also really challenging to work with my partner as we both have different styles of acting and it was difficult for me to compromise with him as we both have very strong opinions about the scene.Day Thirteen:Today I started by getting to know my monologue and the character I would be playing. I chose the monologue said by Imogen in the play "one for sorrow" by Cordelia lynn. In order for me to understand the context of the monologue, I needed to do more research on the themes of the play, which are terrorism, class, racial prejudice and dysfunctionality within families. While I was unable to do the research, I went through my monologue and used my perspective to first act it out. This was challenging as I did not have the research I needed yet, however, I was able to work around it and use my personal experiences to embed authentic emotions in my monologue. I also took this time wisely to learn my lines so that I was off script.Day Fourteen - Dance Journey:In today's lesson we had to share a presentation of a specific dance company that we were given to do research on. I was given stopgap dance company. This is a company that works with people of all abilities and disabilities. I found it fascinating the way people with disabilities didn't allow their struggles to define them and still persevered and thrived to be able to become a professional dancer. I have embedded my research in section 1. For the second half of this lesson, we rehearsed our dance peace for the last time. This time that we were given to rehearse, my partner and I used it to perfect our movements so that we were able to move in sync in certain moments of our dance piece. overall, I think the rehearsals of my dance piece were successful as we were able to sharpen our moves and make them clear.

Daily Logs

Return week from half-term:After half term we had two lessons until the final exam. In the last two lessons before the final performance I continuously rehearsed my monologue and duologue with my partner. We wisely took this time to block our movement and use our vocal and physical skills to portray a certain message to the audience. For my monologue, I focused on tensing my muscles in order to contrast with what I was saying, making my performance really interesting and engaging for the audience. I also focused on my vocal skills and how I was going to deliver my lines to the audience. For example, when I say the line "I'm so angry, I'm so so angry" I would say it, with a frustrated tone of voice and decreasing volume.I also focused on the given the circumstances of my monologue. Who my character is, what they are doing, when are they doing it, why are they doing it, and for what reason. I also focused on having a purpose for my movement and my monologue itself. I utilised my own experiences with anger and frustration and embedded my truthful responses with those emotions into my monologue. This helped me create an authentic and realistic performance that was engaging for the audience.I used the technique of show don't tell to make my performance more eclectic an interesting. By using Stanislavski's method acting techniques, I was able to bring my character to life.For my Duologue, I used my rehearsal time and focused on conveying my relationship with Scott thoroughly. This is because it would help to show context in our scene. I also focused on exaggerating my movement, enough to make it realistic. The things that went well during rehearsal who is that we were able to block our space and movement authentically. We were able to use the space sensibly. I was also able to think of objectives for different moments in the scene. For example, at the moment that I got up after using the hanky, my intention was to annoy and tease Scott. I also think that I was successful at learning my lines so that I did not have to rely on someone feeding me my lines, I found it easy to use different movements and gestures with specific lines that I had. However, the things I found challenging in the process of the final rehearsals is that due to my partner and I having different styles of acting, it was still very difficult for us to compromise. Another challenge I faced was the lack of confidence. For me to do this duologue, I had to push myself outside of my comfort zone many times which was a struggle. However, I kept reminding myself of how much progress I was making and how well I was performing. By the end of these rehearsals I was more confident in my work and was confident that both my monologue and duologue were ready to perform on Thursday!

Daily Logs

Evaluation Of My Monologue And Duologue


Pages 33-39

I am writing about my experience of Imogen's monologue in One for sorrow, the production. The play was written by Cordelia Lynn in June 2018. The play is about a young girl who joins a campaign to help victims of the bombing attacks. It focuses on the key themes of terrorism class, racial prejudices, and dysfunctionality within families. In this evaluation, I am focusing on aspects of the techniques I used in rehearsals, the preparation and the overall performance. I will also talk about the challenges I faced throughout this unit.The main things I learnt through this unit are to be present in the character and the scene. This means that I need to get inside my characters head in order to be able to portray a realistic response to my surroundings in the scene I play. I also learnt to think about the given circumstances of my character, which is one of Stanislavski's methods of acting. This means to figure out the who what where when why and for what reason of my character in the scene I play. In addition, I taught and pushed myself outside of my comfort zone to be able to feel more confident in my work/acting. this also allowed me to be more comfortable with myself as I pushed myself to work with peers I don't usually work with. Stanislavski's methods of acting also taught me that my personal experiences and struggles can be used and implemented in my acting to show authentic and truthful responses in my performance, allowing it to seem realistic, which is something that Stanislavski believed in when acting. I was also able to develop my knowledge on Stanislavski structure. For example, the fourth wall, an imaginary wall put between the audience and the stage, allowing us as actors to be authentic and create a relationship between the actors and the audience. In this unit, I was also able to develop my understanding of objectives when acting. This this is when my character has a specific target/ intention that they want to reach in a specific scene or in the play overall. By giving my character an objective, I am able to have a purpose when acting and convey different messages to the audience. These new techniques that I learnt were really interesting because it allowed me to use different approaches to my character in my performance allowing me to think of various ways to respond in certain moments of my monologue. For example, In the moment I say "put my hands to my head and say I'm so angry", by using emotional memory during rehearsals made me utilise my past feelings of anger to embed it into my acting to create a truthful response by either using loud volume and frustrated tone of voice or Increasing volume until "i'm so angry" and then say that with decreasing volume and an exhausted tone of voice to reveal that my character is drained. I found learning my lines quite easy as I was able to find certain movements that went well with my line, to help me remember it. The preparation for my monologue was a little challenging at first as I had to block my movement with a tensed up body to contrast my line when i said "i'm not angry" meaning it was difficult to move. However this worked well as I didn't want to move around a lot. By constantly rehearsing and going over my movement I was able to refine my gestures and perfect my performance before the exam day. By doing this I found that it got easier and I felt more confident with myself each time.


In my opinion, the final performance was successful as I was able to portray my anger and frustration with the world and the issues and struggles happening right in front of us. By using emotional memory, I was able to portray realistic and authentic responses creating a sense of truthfulness. my experience on the whole of the project was interesting and fun and helpful because I was able to improve my improvisation skills and was able to develop my knowledge on different methods that I can use when rehearsing are performing. I was also able to push myself outside my comfort zone and become more confident which helps me with my anxiety, allowing me to feel more comfortable and not panic so much.The main challenges I faced throughout the performances are pushing myself outside of my comfort zone and cultivating a sense of confidence within the class environment. This is because, due to my anxiety, I panic often, stopping me from feeling confident in my work/acting and being comfortable with the people I work with. I was able to build my confidence by actively seeking opportunities to participate and also challenged myself, and forced myself outside of my comfort zone in order to grow, and gradually build my confidence that I need to succeed. This goal of building my confidence was really crucial to stay committed to. I had to remind myself of the small, but amazing progress I was making order to stay resilient. By continuously focusing on my own growth I was able to overcome these challenges and develop my confidence overtime.By overcoming these challenges, I learnt and realised that I should be proud of my work, and shouldn't doubt myself so much. I learnt that I should be happy with myself, despite what others think. My experience of these challenges helped me work on my anxiety and panic attacks and helped me realise how amazing my work can be if I push myself and challenge myself. Overall, what I learnt from this project is that there are many different techniques that can help me find various ways of acting and performing authentic and truthful plays, allowing me to portray certain messages to target audiences. It also allowed me to realise that by challenging myself and staying resilient I can be more at ease and comfortable with my peers. What I will take away from it for my next project will be to constantly remind myself of the progress I make and how well I am doing. I will also continue pushing myself outside my comfort zone so that I can thrive in my lessons and performances. In conclusion, my experience on my performance was successful as I was able to develop my various skills and was able to grow and be adaptable and open minded. I was also able to embrace myself and stay resilient.

I am writing about my experience of the duologue between catrin and scott in Love steals us from loneliness, the production. The play was written by Gary Owen in February 2005. The play is about a young welsh girl who falls in love with her boyfriends best friend which later leads to tragedy. It focuses on the key themes of love, loss and grief and the ripples that one bad decision can send through the years. In this evaluation, I am focusing on aspects of the techniques my partner and I both used in rehearsals and the performance, the preparation and our overall performance. I will also talk about the challenges I faced both with my partner and on my own throughout this unit.The main things I learnt throughout this unit are being able to work as a team/duo. This means being open minded to different ideas and opinions and using our communication skills. I also learnt about the magic ifs. This means approaching the situation in the scene by asking yourself "what would I do if I was in the situation?" allowing my to think about how I would react as well as my character. I also developed my knowledge of given circumstances and thought about the context of our scene. This helped me create realistic responses to my situation in the duologue. This helped me create a sense of truthfulness in my performance. The main challenges I faced throughout the performance are working with people I'm not used to working with and being confident around my peers. This was a struggle because, due to my anxiety, I came off as very quiet and antisocial. However, I challenged myself to be myself around my peers, allowing me to get comfortable. I continuously pushed myself outside of my comfort zone, so that I was able to thrive in my performance. Due to this, I have learnt to constantly remind myself of my excellent progress and amazing work so that I am able to stay resilient and not panic. I have learnt to go easy on myself and be proud of what I have achieved.Overall, what I learnt from this project is that the various techniques that I have developed my knowledge on, can help me develop and understand my character better. By developing a foundation of these acting skills and techniques I am able to master and create a successful performance. By continuously setting myself a target to develop and refine my skills through different exercises I can improve my abilities but also feel more at ease when performing on stage. What I will take away from it, for my next project is to continuously set myself realistic goals/targets and continuously challenge myself to do more and involve myself in more. In conclusion, my experience on my performance is that I was able to further develop my acting skills and techniques and was able to communicate to my peers, as well as being open minded to his ideas and opinions.


I am writing about my experience of my dance piece that my partner and I created. The piece was created as a contemporary performance for the song, ocean eyes by Billie Eilish. The dance performance shows a strong built connection between two friends that grew up together and were always there for each other. In this evaluation, I am focusing on aspects of the techniques we used, the preparation/rehearsals and the overall performance. The main things I learned throughout this unit is the various movements, simple or complex, that I am able to use to convey specific messages or reveal a story through the performance to the audience. I was able to use the skills I had and embed them in our piece. I also learnt how to be open minded to different opinions and open to trying new things. My experience on the whole of the project was interesting as at first, I struggled to communicate my own opinion due to not being comfortable with working with other peers I don't usually work with. The piece portrays moments where the character my partner played was there for me to bring me back up and moments where I was there and reached out for him. We used our bodies to show the connection between our characters.The process of coming up with a dance was a little stressful at times as I was not sure what movements to use in my piece but I was able to find inspiration by doing research. As we continuously rehearsed and practised in our own time, I was able to perfect and sharpen my moves, allowing my piece to be clearer.The main challenges I faced throughout the performances are lack of confidence and pushing myself outside of my comfort zone to work with people I'm not used to working with. This was challenging as I struggle to embrace my vulnerability and I'm used to staying within my comfort zone. However, by working with someone new, I was able to challenge myself and allowed myself to be vulnerable and trust in my partner. I think my final dance performance was successful. This is because we were able to communicate through direct eye contact with one another. We were both able to communicate our ideas to each other. By continuously practising and rehearsing our dance piece we were able to move in sync at the moments we needed to. At first, it was a little challenging as I was a little anxious before performing in front of people I didn't know well, however, throughout the performance, I was able to gain confidence. However, next time I think I should be more confident in my dance performances. Overall, what I learnt from this project is that there are many different movements and techniques I can use to help me to portray certain messages to target audiences and reveal different stories through these pieces. In conclusion, my experience on my performance was successful as I was able to develop my various skills and was able to grow and be adaptable and open minded. I was also able to embrace myself and stay resilient.


By: Lucy Pinho Kadlec - 862345

Thank you!!

Stanislavski's system

Stanislavski came up with a system for acting that helped people improve their acting skills and prepared them for performing. His performance process allowed the actors to use their backgrounds and personal experiences to "express authentic emotion" and use it for their character when acting. This allowed them to create stronger charcaters that they were able to feel emotionally connected to. This also helped them stay in focus and character. Stanislavski believed in realism when it came to acting. His method mobilised the "actor's conscious thought and will in order to activate other, less-controllable psychological processes." This meant that the actors were able to use past events in their lives and chanel the emotions they felt during it into the scene they were performing

Artifial Things - Duet

Stopgap work!

Lynn and director James Macdonald chronicle subtly shift dynamics that transform the home from a safe space to a space of danger. This play was first performed at the Royal Court Theatre, London, in the Jerwood Theatre Upstairs, on 20 June 2018, in a production directed by James Macdonald.

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One For Sorrow is about being afraid and feeling safe. It’s about how feeling comfortable and feeling safe don’t always align. One For Sorrow takes the middle class family home – the archetypal theatrical safe space in twentieth-century British theatre – and exposes its edges.

Given circumstances of scene:Who: My character, Cat, is a young

Name of my character: Catrin/Cat Relationship to Scott: Friends - She slowly gains feelings for him Relationship to Lee: Girlfriend and boyfriend