LILY CAMP Portfolio

LILY CAMP RESEARCH PORTFOLIO

Final Project

Date

Author: Name SurnameAdvisor: Name Surname

Fear Avon Valley- Reflection "FEAR" at Avon Valley Scream Park is a terrifying and immersive haunted attraction. It is a collection of haunted houses, mazes, and experiences designed to evoke fear and suspense. With various themes and scare tactics, FEAR aims to create an intense and chilling atmosphere for visitors, offering a spine-tingling adventure filled with scares and surprises. Within the months of September to October I worked within the wonderful world of FEAR. This was an amazing experience for me in which I have learnt an incredible amount over a very short span. Beginning from the auditions themselves which spanned from 2-4 hours of rigorous exercise and close contact with directors. These auditions were extremely high energy and required full focus with positive energy and professionalism. I had no prior experience with scare acting so found learning about ‘impact scares’ and different ‘scare types’ very interesting and worked to my fullest to experience each character. After 2 rounds of auditions, I was placed within the ‘Street Team’ and our role mostly revolved around interacting with the public outside the mazes to further our storyline and immerse guests. This really excited me as I saw it as the perfect opportunity to utilise what I'd learnt within improvisation and hopefully improve my techniques. FEAR taught me many lessons but the most essential to keep the nights running smoothly was time management. We had precise schedules of when we all personally had character changes/ breaks/ shows which must be exact. Planning way ahead on time to arrive in time for SFX makeup, getting in makeup, team debriefing and having time to warm up physically and vocally. After dress rehearsal and a few LIVE nights, the schedule became much easier to work around and each time. It was extremely important within Street Team to be aware of all the actors on the team. We all worked together to keep each other safe whilst maintaining the coherent storyline in our section of the park. Using things like hand signals and body language to communicate with our team as our characters could not always interact due to the storyline. Hurdles like this seemed hard to navigate but once in practice we worked seamlessly together.

Another aspect which was essential was professionalism. Every night I brought positive energy and new ideas to the debriefs in hopes of improving my work through feedback. Lots of work within Street Team was influenced by outside factors such as weather, set and the public. Being prepared for any weather using the appropriate clothing and under armour was very important in keeping healthy and allowing my body to have the full potential to interact with guests. Last year during the course I sometimes found it hard to be prepared but within this experience I always had my bag ready with essentials and prepared myself before going out onto street team. Professional was also important as when using guests for shows you had to be aware of their reactions and if they would interact with the improvisation. Within one of our show's guests had to place bags over their heads and follow me and the Doctor to a separate room within the section of the park. Being able to pick guests confidently became easier as I found my ability to read body language and facial impressions. Within this show you also had to gain consent whilst also sticking to more unflexible dialogue which was initally a struggle but became straightforward. Working face to face with the public was quite intimidating at first but I found immersing myself into my characters helpful as my responses became more natural and improved. Every night I tried new tactics on guests as you often get instant feedback which can be worked into my toolbox for later work. Within street team we also had timed shows to add further experiences for customers. For example, we had Lazer shows which were timed every hour- within these shows we had different motivations depending on the time of night which changed our interactions with guests and other actors. I was often a ‘rebel’ within these intermittent shows which centred around a lot of physicality to race across spaces and avoid obstacles and guests. We also had stage shows which presented guests the storyline progression in scenes such as the execution. In the execution my character gets tazered by 2 other actors and I am carried off stge. This section at fist was quite daunting as more complicated shows in front of guests every night was intimidating. However, every night these shows got my easier and fun as we found new ways to add more detail and connection to these portrayals.

Character Work- Our characters within Street Team were key to our section of the park. Ranging from guards/Facility Staff/Patients/Rebels etc. Within this process I created character Files with physical and emotional key points as I often had to change character several times during one night. To create successful scares characters needed to be prevalent.Awareness of Environment- For safety and acting reasons I had to always be aware of my environemnt. When working outside with the public you have to be sensitive to others reactions and the set surrounding them. Using the guests reactions and the set surrounding allowed for a more immersive experience as guests could see the world we were acting within.Timing- Another crucial element to FEAR. For scares especially timing is tender as you need to pace when and where you scare a guest. At the start of the run I found myself rushing which was less effectice, in comparison to the the end of the run. Depending on the character you were portraying pacing would help enhance the guests horror experience.Vocal Energy- Near the start of this project I struggled with my vocal resonance and energy. But after rehearsal and working in an outdoor space with many extreneous factors my voice adapted better to my environment. Within the execution scene espcially Ifound more ways to scream on control but this still needs developing.

Range- Due to the quick pace and switch in environment I was able to develop my emotional range when portraying characters. I utilised facial expressions, physicality and vocal pitch. It was very influencial to my developmentAdaptability- Most nights during FEAR were centered around spontaneous reactions with guests which is central to improvisation. Being able to adapt to shifts and still follow the storyline was challenging but insightful. In addition to this you would also work in sync with other actors- creating more dynamics.Collaboration- Following on from the last section collaboration was essential during this project. Within Street Team specifically you had to work cohesively in order to stregthen the storyline and scare scenes. Over the run I improved significatly as I could read actors cues and body lanuage quickly and within crowds of people. For example; Within the lazer shows there was smoke/lazers/music and we still worked together seamlessly to collaborate. Physicality- Another key part to this experience. My connection to my body through acting was essential in order to express my characters motives and further the storyline. In scenes such as the execution full energy and dedication had to be used otherwise the story was lost. I have definitely developed my physicality through FEAR

Skills learnt- FEAR

Keywords

Reaching back into the Middle Age and Renaissance these performances were not restricted. They could occur in marketplaces and streets as travelling performers would entertain the public. This type of practice later on developed into other practices such as improvisation and more specifically commedia dell'arte However, within the 20th century more avant-garde directors have begun experimenting even more so. They began to refine this experience into performance spaces such as abandoned buildings, warehouses and vast our door locations.Using promenade theatre is extremely advantageous as it focuses primarily on capturing the audiences attention and paints bold storylines.

History With similarities to site specific and immersive theatre. Promenade theatre aims to fully engage an audience within diverse performance spaces. Its history traces back to ancient theatre such as Greek Drama. These were often performed in ampitheatres and sometimes the audience moved along with the performance to different locations

Promenade Theatre

Forced Entertainment They are well known for pushing boundaries and well developed promenade theatre. They often experiment with audience engagement and procative art. Based in Sheffield.

Catherine Wheels Theatre CompanyScottish producer who works primarily with young people. Using promenade theatre often to illustrate folk and fairytales. They are a well travelled theatre company who takes part in festivals across the world.

Notable Practitioners

History Street Theatre has always been prevalent within acting and been practiced in several cultures. Going back in time 'street performers' would be hired in markets to do activities such as juggling in order to attractthe attention of the public into the things they were selling.Within the Middle Ages it was found due to its links back to religion when people would publically workship in the public courtyards. It was also prevalent within Romani history as street perfromers consisting of dancers, musicians, fortune tellers and goat tamers would entertain. Similar to promenade theatre this would sometimes be done at markets. Street Theatre is recognised worldwide as it can also be used to performatively spread messages and information. Within Asia, street opera, Japanese Noh and Kabuki theatre were centered around the public. African and South American cultures would use street theatre and enhance it through vibrant music and storytelling techniques which capture audiences..Within the 1960-1970s Street Theatre was utilised as a form to promote civil rights. Anti-war protests and social issues were made clear through these perfomances. The Living Theatre and Bread and Puppet Theatre within the US challenged the status quo through their theatre.Now within the 20th century many people have begun to use 'cyber-busking' which is often seen through streaming videos and viral videos which attract large audiences online. However, this isn't always recognised as street theatre as historically it happens in public.

Street Theatre

Bread and Puppet TheatreBecoming more well known in the 1960s this American company used Street Theatre mixed with puppetry to progress their political activism. Often they performed in public spaces to provoke others and challenge the views within the time period. They are recognised for their visually striking performances

Theatre de Complicite (Complicite) An international touring company based in England that have experimented with street theatre. They usually devise their own compelling stories which are well researched and designed before being performed. They follow many of LeCoqs principles and teachings.

Notable Practitioners

History Immersive theatre had become a growing form of theatre particularly within the 20th century as new ways of captivating audiences with modern technology has been utilised. Immersive theatre seeks to break the bridge between performers and audiences and pull you into the world being created.The beginnings of immersive theatre stem back to Greek Theatre and grew larger within the Renaissance era as its evolved continously and continues to. In the 1960s-1970s groups such as the Living Theatre and the Happenings movement focused on developing interactive theatre and how to further delve into participation within theatre. These companies contrast traditional theatre as they unconventionally break the barrier and reach out to audiences through breaking the fourth wall. Encouraging active involvement from an audience which is uncommon in traditional productions. This is becoming rapidly popular as audiences enjoy the immersiveness.London has become the beacon for immersive theatre with viral experiences such as The GunPowder Plot, The Murder Express, The Moonwalkers, The War of the World Experience, Van Gogh Interactive exhibition, Faulty Towers Dining experience and many many more.

Immersive Theatre

Lorem ipsum dolor sit amet.

Specific

Secret CinemaAlthough mainly using film experiences the Secret Cinema had evolved Immersive Theatre as they combine film screenings with live performance. They are an extremely aesthetic company as they take the world of film to the audiences. Not only that but they continue storylines to keep audiences engaged andconnected

Punchdrunk One of the most recognised Immersive Theatre Companies. Renound for performances such as 'Sleep No More' which uses large sets and trasforms them into multi-sensory experiences which fully engage audiences as you can become involved in the narratives. I particularly have a large interest in PunchDrunks work due to how visually captivating their work is

Notable Practitioners

This game based experience revolves around the guests who must solve a series of puzzles and challenges. These experiences all have different stories which can range from fairytales to murder mysteries. I have taken part in a few of these experiences and they are very immersive and engaging as you fight to beat the clock.

This Festival which takes place yearly in Bath. They use Steet Theatre to portray the world of the Regency era. They have interactive perfomances in public and at historic venues which consist of detailed costume and storytelling narratives. They aim to show the world of Austin vivdly so everyone can enjoy and become involved.

An audience interactive experience which is set in Bath. This experience revolves around a tour of Bath as the guide combines humour and storytelling to create an unconvential and entertaining experience. Its a fun experience which can be enjoyed by tourists but also those who already live in Bath

BATH ESCAPE

JANE AUSTIN FESTIVAL BATH(STREET THEATRE)

BIZZARE BATH(STREET THEATRE)

BATH/ BRISTOL

COMPANIES& OPPORTUNITIES

After my experience at Fear, I want to expand my knowledge on promenade theatre and street theatre. I decided to look at my local areas to see if they had anything similar to my experience. One of the ideas I found remarkably interesting was from Bizarre Bath. This company mixes a tour of the local area of Bath and its well known attractions. But rather than presenting just hisorical information they spin stories and jokes into the experience"To gain a very different perspective of Bath you may want to experience Bizarre Bath. A one-and-a-half-hour improvisational show around the streets, during which the tour guides pull pranks, tell jokes, and behave in a humorously annoying manner towards tour goers and unsuspecting residents alike. No reservations are needed - just show up ready for anything.” Bizarre Bath is a utterly unique immersive experience which is easily accessible. As an actor I can really appreciate the richness of their experience and techniques and would love to experience working in a company like this

The skills and techniques within this company which I work develop or utilise-Storytelling- The actors within Bizarre Bath are very effective within storytedlling. Taking a plain tour around bath into a humourous and immersive experience takes lots of experience of honing storytelling. Reviews online further prove this as its a fun interactive experience.Improvisation- Due to this experience being held with the public the actors must bounce off the energy they are given and work with reactions they are given. Similar to my experience at FEAR people reading was essential to work with improvisation. No interaction is the same and this is what they work around at Bizzare Bath.Physical Comedy- Unlike FEAR this company is focused around comedy. This is a different type of skill as you must be even more aware of the crowd you are performing to. Its a challenging skill set which I would want to develop in order to effectively add layers of humour to keep the audience entertained.To work within a company like this I would need to attend more improvisation and physicality workshops in order to create more of a toolkit to rely on within performance. I believe that more development from our comedy module would definitely be essential and those core techniques would then need to be further developed.Overall, Bizarre Bath requires versatility, adaprability and a strong knowledge of the surrounding area. They have such a well crafted ability to interact and engage with small or large audiences within a tour whilst also adding humour and information. Its a very unique idea which I haven't seen been done before.

Bizarre Bath

The Jane Austin experience is a fully fleshed out experience which is linked to the Regency Tea Rooms in Bath. Its a very cohesive experience in which guests can experience multiple activites. The captivation is the festival itself as a Promenade of actors and avid guests take part in reinactments led by the 33rd Regiment of Foot soldiers.Guests can then go onto other experiences such as dining/ card games/ book readings / character interactions and short scenes with actors. They even hold masked Balls in which paid customers can dress up in period clothing and experience Bath's history. This is a very period immersive experience which attracts not only tourists but a range of audiences. This team of actors work tirelessly to create the world of Jane Austin and pull everyone into the period seamlessly. The diverse range of activities keeps the customers immersed and responsive.Some of the techniques which I think would be central within this work are-Character Development- As actors are interacting with guests for extended periods of time in character, having cohesive character depth is essential to fully portraying the story. For customers who might not know much about the history or era you would need an in depth knowledge of the history and where your character is in relation to it.Ensemble work- After my most recent work as an ensemble member in my devised piece I can appreciate the work these actors would need to put in order for a smooth experience. Also many of the events are group activties so you must work with large groups of people confidently which I struggled with in my FEAR experience due to the volume of reactions. I would need to develop this in order to work with companies like this. Period Authenticity- This Festivals key focus is its historical accuracy. Meaning actors must research mannerisms/ language/ costume to fully portray the storyline effectively. I often find it hard to fully present historical context into characters so working within this company would develop my skillset

Jane Austin Festival

The Tobacco Factory in Bristol- occasionally hosts immersive theatre productions. While not its main focus, these immersive performances use the venue's adaptable spaces to create engaging and unique experiences for audiences, adding variety to its diverse cultural offerings. For example the perfomance of Snow Queen

The Natural Theatre Company in Bath excels in street theatre, using creative costumes and humor to entertain audiences in public spaces. Their performances, blending physical theatre and interactive elements, aim to surprise and bring moments of delight to spectators through innovative and lively street art.

“Feel Me is a new interactive theatre show from The Paper Birds, UK leaders in devised verbatim theatre. Feel Me asks, via your mobile phone, who and what you care about from the stories unfolding live on stage in front of you".

TOBACCO FACTORY THEATRE- "SNOW QUEEN"

NATURAL THEATRE COMPANY(STREET THEATRE)

ROYAL THEATRE BATH-"FEEL ME"

BATH/ BRISTOL

COMPANIES & OPPORTUNITIES

Researching immersive theatre I'm finding more and more examples of it being prevalent in well known theatres. This has changed my perspective on immersive theatre as I have realised it can be much more achievable to become involved in as long as I contunue to develop my skillset and look for opportunities. From my initial experience working at FEAR I want to continue to find more ways to integrate immersive theatre into my experience. I think that immersive theatre develops essential skills within an actor and they are skills I enjoy working on and developing.

The Theatre Royal has recently released an interactive show named 'Feel Me'. “Feel Me is a new interactive theatre show from The Paper Birds, UK leaders in devised verbatim theatre. Feel Me asks, via your mobile phone, who and what you care about from the stories unfolding live on stage in front of you. A stunning mixture of live performance, film, projection, dance, and music, Feel Me will explore the different lenses through which we are told, and connect to stories in the modern digital world. "This type of theatre is new to the Theatre Royal. It demonstrates the evolution and spread of immersive theatre into common practice. This type of theatre is becoming more recognised as it really captivates and immerses audiences.

Theatre Royal

Lorem ipsum dolor sit

Due to this company being wildy renowned for their immersive and street theatre I can learn a lot from their theatre. For example; they twist a lot of traditional theatre. They took the 'History of Bath' and turned into it 'Dirty Bath'. Within this they created unique wacky characters and otherworldy stories to create humour and contrast.Another experience which influenced my perspective as an actor. They have worked street theatre within Shakespeare. But not as a traditional acting experience but creating new plays from them more focused on comedy and the bizzare. The show is over an hour and the location chnaged repeatedly throughout the piece as the audience follows.The central techniques I was influencial by and want to develop are- Innovative concepts- This company thrives off of creativity and new ideas that bring audiences. They explore a diverse range of themes within the Street Performances. Its very inspirational the drive of this company as they continously create new developed work.Versatility- The performers within this company have a diverse skill set. The central techniques being physicalisation, comedy, improvisation and character development. I would need to improve all of these skills as they are all equally important within companies like this. This company holds workshops which I hope to attend and develop my skill set.

I was very suprised and interested to find a Street Theatre Company in Bath as its so accessible to me. This company is recognised for its street theatre performances and also holds courses/ workshops for those who want more experience.This company was founded in 1970 and since then has gained international recognition for its specialisation in Street Theatre that blends improvisation, comedy and bold visuals. They have toured multiple countries, leaving an impact globally and further evolving the influence of Street TheatreMost of their performances are held in unusal public places which contrasts to the usual traditional theatre spaces. This keeps audiences engaged as it further potrays the world of the story.

Discussion

Natural Theatre Company

This company found my attention as it specialises in physical theatre and clowning. They incorporate these elements to further social commentary and pushing the boundaries of traditional theatre. They are openly commited to experimenting and evolving as a company to create work that immerses and entertain. This company also hosts workshops that develop improvisation and clowning skills which im interested in.

Although many may think this is a music Festival it actually has a fully conceptualised storyline and set with actors. Within this fictional city performers interact with those at the festival which contributes to the festivals captivting and ethralling energy. Over the years the plot has developed further and the sets have been developed to add more storyline.

An immersive cocktail experience. Guests are required to wear prison outfits on arrival and can 'smuggle' in alcohol which will then be made into professional cocktails later on. A cast of diverses characters such as guards/wardens/inmates are part of this storyline as they further the immersion. Its also set within 'prison cells'

UGLY BUCKET THEATRE (LIVERPOOL)

BOOM TOWN FESTIVAL-HAMPSHIRE

ALCOTRAZ- BRISTOL

further

COMPANIES & OPPORTUNITIES

The Actors' Gang (United States) Has diverse theatre productions and workshops, sometimes touching on immersive elements

La Carnicería Teatro (Argentina):Recognized for immersive and interactive performances, they conduct workshops exploring audience interaction and immersive storytelling.

La Fura dels Baus (Spain):Renowned for large-scale, visually stunning street theatre spectacles, they offer workshops touching on street theatre performance and immersive elements.

Rimini Protokoll (Germany) Known for immersive productions blurring the line between theatre and reality, they host workshops exploring immersive storytelling.

opportunities

WORLDWIDE COMPANPIES

Coming from previous Bath Spa Students this newly formed trio aims to perform immersive theatre within Bath. They have already recieved positive reviews in new perfomances such as 'A Bad End'. This was very helpful to find as they also went to Bath Spa

This is an immersive tour around Bath and also has a tour in Bristol- which entails horror themed storytelling. As actors immerse the audience through costume and site specific stories its truly an experience to trial. Also providing historical content for those interested.

Newer developing touring comedy company. Use a mixture of vibrant visuals and 'Rock and Roll' mayhem. They have toured in Europe and continously work to develop new shows to tour with

DUMB FOUND THEATRE

BAT/BRISTOL GHOST TOURS

CALF2COW- BATH

BATH/ BRISTOL

COMPANIES & OPPORTUNITIES

"Generally, auditions for performers are held by invitation only for each production as occasion arises. Dancers in particular are usually expected to have at least three years professional experience in order to qualify for audition"

I really enjoyed researching PunchDrunk as it encapsulates a lot of the things I want to do and become as an actor. The mixture of multiple mediums with the central goal of influencing the audience and seamlessly portryaling stories is inspirational.Casting-

HistoryPunchdrunk is globally acclaimed for its groundbreaking immersive theatre. When researching this was one of the most prevelant and captivating companies I came across and I'd love to experience the workshops in the future.PunchDrunk was founded in 2000 by Felix Barrett. He is the director and producer and works alongside Peter Higgin. This company strives to reinvent traditional theatre experiences by presenting immersive theatre in unconvential settings with conceptual stories The earlier productions of PunchDrunk such as 'The Firebird Ball' and 'Faust' gained lots of attention. PunchDrunks style has developed more since then but what remains central is the intricate sets that can span across multiple locations and are highly interactive. The narratives unfold delicates as audiences follow this story firsthand.One of the more recent successful productions is 'Sleep No More'. Thus has been shown in several locations- itstarted in London and moved to New York and Shanghai. This was an addaptation of shakespeares 'Macbeth' but spanned across a whole building where the audience had to wear masks during this experience as several scenes occured across the set.The perfomance which had drawn my interest most is 'The Burnt City' which drew inspiration from the story of Troy. It uses a mixture of physical theatre, intricate set and intimate scenes

PunchDrunk

Immersive theatre allows audiences to live the story, to step into it, rather than just observe

FELIX BARRETT- PUNCHDRUNK

STANDOUT/INSPIRATION

This immersive performance was inspired by the story of Troy. It reimagines the mythical world of gods and mortals. The labyrinth of Troy entails secrets hidden within the large intricate set that PunchDrunk created. With vibant neon lighting the faces of the actos are illuminates as the express physically this captivating story

Courtroom drama with an immersive twist on Agatha Christies classic. The audience lay waiting in a courtroom as the trial of Leonard Vole progresses. The story explores themes of themes of justice and deception, culminating in a dramatic and surprising conclusio. The accurate set of this production fully enagages an audiences attention

This immersive Great Gatsby honored piece brings the 1920s to life through the use of iconic engaing characters. The use of music ties the set and actors together towards the audience as the audience can enjoy themed food/ solve mysteries/ scene activities. It fully encapsulates the vibrancy of F.Scott Fitzgerald's classic novel and brings it to life

WITNESS FOR PERSECUTION

GREAT GATSBY IMMERISVE EXPERIENCE

BURNT CITY- PUNCHDRINK

PERFOrMANCES

The Natural Theatre Company in bath holds a variety of workshops that I would like to attend to develop my skills. The focus of their workshops are around street theatre and developing techniques such as- physicality, improvisation, engagnig audiences and charcater development. The workshop are hand on experiences that throw you into embracing creativity to develop interactive storytelling

They host diverse and dynamic workshops using various aspects of performance and theatre arts. These workshops cater to both seasoned artists and newcomers, offering opportunities to explore improvisation, physical theatre, devised performance, and other experimental theatrical techniques. Led by experienced professionals and visiting artist. They delve into creative expression, collaborative storytelling, and innovative approaches to theatre-making

The Ugly Bucket Theatre host workshops aimed at cultivating creativity and physical storytelling in performance. These sessions explore devised theatre techniques, encouraging participants to experiment with movement, clowning, and absurdity to create original and unconventional performances

THE WARDROBE THEATREBRISTOL

UGLY BUCKET THEATRELIVERPOOL

NATURAL THEATREcompany BATH

workshop opportuunities

bath/bristol/FURTHER

Backstage Mandy Spotlight

https://creativecardiff.org.uk/opportunities

Links to Opportunities/ Auditions

https://www.punchdrunk.com/work-with-us/

https://www.boomtownfair.co.uk/connect/careers#:~:text=All%20our%20latest%20vacancies%20are,love%20to%20hear%20from%20you.&text=If%20you%20are%20interested%20in,as%20soon%20as%20we%20can.

https://www.backstage.com/casting/alcotraz-cardiff-immersive-experience-2707275/

https://www.thepaperbirds.com/opportunities/

https://janeausten.co.uk/pages/festival-get-involved-performers-events

CONTACT BUCKetouRtreach@gmail.comINFO@NATURALTHEATRE.CO.UKBIZZAREBATH@GMAIL.COMNOELBRITTEN@TALK21.COMfestival@janeaustin.co.ukINFO@BATHEXIT.CO.UKtracey.cook@theatreroyal.org.ukalilica sharp@theatreyoalbath.org.ukEDUCATION@THEPAPERBIRDS.COMJEMMA@THEPAPERBIRDS.COMKYLIE@THEPAPERBIRDS.COMC.TAPP@THE PAPERBIRDS.COMDAVID@TOBACCOFACTORYTHEATRES.COMHEIDI@TOBACCOFACTORYTHEATRES.COMJAMIE@TOBACCOFACTORYTHEATRES.COMTHEWARDEN@ALCOTRAZ.CO.UKJOB@BOOMTOWNFAIR..CO.UKINFO@THEWARBROBETHEATRE.COMMATTHEW@THEWARDROBETHEATRE.COMAISHA@THE WARBROBETHEATRE.COMJOHN@PUNCHDRUNK.COMallie@yellobrick.comflossybootheatre@gmail.comshanenickels91@gmail.comsimon@simonclodefilms.comjonathonrowlandbeer@gmail.cominfo@avonvalley.co.ukDIRECTORS-ANDY BURDEN (NATURAL THEATRE COMPANY)NOEL BRITTEN & DOMINIC SEArleDAVID BALDOCK & JACKIE HERRING (JANE AUSTIN FESTIVAL)sophie cottle (theatre royal workshops)deborah warner (ustinov studio)PAPER BIRDS THEATRE- JEMMA MCDONNELL, KYLIE PERRY, CHARLIE TAPPTOBACCO FACTORY- DAVID DEWHURST, HEIDI VAUGHAN, JAMIE REESsam shearman (ALCOTRAZ)- INVENTIVE PRDOCUTIONSBOOMTOWN- CHRIS RUTHERFORD, LUKE MARCUSUGLYBUCKETTHEATRE- GRACE GALLAGHER, RACHAEL SMART, ANGELINA CLIFF, JESSICA HUCKERBY, KAILA SHARPLESWARBROBE THEAATRE- MATTHEW WHITTLE, AISHA ALI, JESSE MEADOWS, HELENA MIDDLETONPUNCHDRUNK- FELIX BARRETT, MAXINE DOYLE

DIRECTORS & CONTACTS

Creating an Acting CV presented a unique challenge, especially with limited directed or paid experience. Initially feeling unsure about the content, I sought guidance from Becky, which proved invaluable. Becky's session emphasized the importance of including physical descriptions, a detail casting companies often look for. This insight broadened my understanding of what casting directors consider in a potential actor. Additionally, Becky highlighted the significance of indicating locations for which I could stay or travel. This practical information provides casting directors with a clear understanding of my flexibility and availability, a crucial aspect in the casting process. This session not only equipped me with a deeper understanding of what to include but also instilled a sense of confidence in presenting myself professionally. Upon receiving feedback from Becky, the critique focused on the layout of my CV. It was noted that there was excessive dead space, and the table displaying my experience needed restructuring. This feedback prompted a reevaluation of the visual presentation of my CV.

Acting CV

Lorem ipsum dolor sit

To add more content in my CV, I expanded the Experience section. While I may not have extensive paid experience, I included details about school or theatre productions, student films, and independent projects. This not only provided a more comprehensive view of my acting journey but also showcased my dedication to improvemy craft through various avenues. Taking Becky's feedback into account, I restructured the table displaying my experience. I minimized dead space and improved the overall visual appeal by aligning columns and making effective use of space. Each entry now includes clear headings and concise information, enhancing readability and ensuring that casting directors can quickly grasp the relevant details. Following industry standards and the advice received, I added a more clear headshot at the top of my CV. This visual element serves as an immediate representation of my appearance and acting potential, creating a positive first impression. The inclusion of a headshot aligns with industry norms and enhances the overall professionalism of the CV. To address concerns about dead space and overall layout, I ensured consistency in formatting throughout the CV. This includes uniform font styles and sizes, creating a polished and professional appearance.

Lorem ipsum dolor sit

First Impressions Have bag packed and ready- try and put away before audition or put to side. Have water and sides ready to take into room Proximity. Do not come to close to panel as confidential information about other Canidates is there Monologue/performing- look slightly above panels head Sides- if talking to another person direct energy at them Feedback- try and do all notes given instantaneously to show panel quick adjustments Have joke/pun prepared Stay professional- do not comment on audition till home Group Audition Be the ‘YES’ person. Open energy and always aware of the panel Originality Collaboration Energy- but professional Examples of Group auditions: Pick song in group and make movement to all words in song Create spoof from political event.

Requirements

Do not use monologues from university auditions. Change monologues once overused

Mixture of monologues- x2 contemporary, x1 classical Songs- x1 upbeat/pop, x1 ballad/slow, x1 musical theatre/Disney (have sheet music

Responding to AuditionReading the brief

Find style/genre
Team- Creative Team.
Research Character Breakdown- investigate character details
Find out specific time/date/location Be at least 15 mins early for audition
Vocal warm up before audition. Before you leave house and on journey- hums and trills
Clothes- outfits that insinuate character but not over the top PRINT and PREP. Everything you need printed- sides/CV/sheet music etc

General Tips

Runner- important person who may give feedback on your behaviour. Before audition be focused and working on sides for goof impression
Do not wear drama school blacks
Makeup- natural every day. Dependent on character

. Audition tips

Rehearse with Others- Practice with others from class was extremely helpful.It brought an outside eye and made me devlop things I hadn't recognised solely by myself. Watching others performances is also informative. Record Yourself- I used this to provide insights into my body language, facial expressions, and overall presentation. Dress Appropriately- Wear appropriate attire that reflects the character or the suggested dress code for the audition. I did this effectively as my outfit insinuated both characters while remaining in smart attire. Warm-Up- Warm ups before an auditioni is essential. This helps with flexibility, expression, and vocal clarity. Also easing nerves

Understanding the material- The monolgue I used within my piece was researched heavily before using for my performance. Creating fact files and delving into the plays were very effective in improving my portrayalMemorisation- Basic but obvious. Making sure that the monolgue is memorised seamlessly in order to be confident. Avoiding monolgues coming across as just reading words across a page. I often try and recite my monolgue whilst busy so I cna really solidlfy my linesResearch the Production- Knowing the production, director, and casting team. Understand the style of the project and the tone of the character you're auditioning for. I was glad I went into this detail as i was questioned about the company in my auditon

Audition Preperation

AND THEN OF COURSE I STARTED GOING FUCKING STIR-FUCKING-CRAZY THINKING OF ALL THE THINGS I COULD HAVE SAID. Like, ‘What the fuck were you doing having a kid months after breaking up with me’, like ‘You said you were like me, you never wanted kids’, like ‘Damn straight I look good – I haven’t been sucked dry by tit-leeches’. And then I almost threw up, because that lady who smells of egg went by, and also because what if, what if we’d stayed together, what if he’d asked me, and I’d said yes in a moment of madness and let him do his thing, and we’d done the normal stuff, and had the babies, would that be my life now? Would I be happy? Happier? Different? What? WHY WASN’T I GOOD ENOUGH TO WANT TO IMPREGNATE? How come Judy Rude lost out to Molly Blah?

Pramkicker- Sadie Hasler Jude: He called me by my name. His name for me. Judy Rude. Because I ‘always swear’. Apparently. The only fucking person I have ever allowed to call me Judy. I went and stood in a card shop for a bit to sort my head out. I hadn’t seen him since we split up, not once. Ten years. It’s weird – I always thought I wasn’t that bothered about him, but I’ve not really liked anyone since. Not enough to live with. And you don’t expect that when you break up with someone do you? That they won’t be bettered. Upgraded. That you will just … stand still. Ten years. Fuck. So I stood there in the shop, and there were loads of congratulations cards – new babies, pink and blue, storks with bundles, balloons, all spewing out. There was one, with a photo of fat little baby feet, next to a card which said ‘It’s your birthday, let’s get wankered’. And all of a sudden I didn’t know who I was anymore. Was I free? Or wasted? Just for a minute. Then I was fine. Left the shop.

Monologue Fact File Preparation

Beachy Head- Analogue Rachel: If you find yourself thinking, this is someone's son, this is someone's lover, of course you won't cut them open. You have to appreciate that bodies sometimes are just bodies. Wherever they were found, whatever they did, whatever their plans and projects, their intimacy 's, their darkness. Seeing a body just as a body is like seeing a painting just as paint. It's difficult, it's probably not the point, but in certain situations, it's what you need to do. And then of course you have to find ways to turn that off, take yourself out of that way of seeing. Stop yourself from seeing people as quantifiable masses of biological tissue. Sometimes for a second you catch yourself looking at a room of people as populated by series of organic composites in varying states of decay. But that's just stuff. We're not just stuff.

In practical terms, I plan to apply the lessons learned from working on monologues to my immersive theatre practice. The disciplined memorization and delivery skills acquired will contribute to a more polished and confident performance. Moreover, the understanding that my castability extends beyond traditional norms motivates me to explore unconventional roles and collaborate with companies that appreciate a diverse skill set.

In addition to the technical aspects of my craft, I am proud of the positive feedback I consistently receive regarding my good energy and professionalism. These qualities, I believe, contribute to creating a collaborative and positive atmosphere within any production.

As I look to the future of my immersive theatre acting, the diverse monologue choices I've made align with my goal of creating impactful and memorable performances. I see these choices not only as opportunities to showcase my range but also as a means of demonstrating versatility in a field that often values unconventional approaches. Considering the immersive theatre landscape, where spontaneity and physical engagement often take center stage, I recognize the value of my castability. By incorporating a variety of monologues, I hope to attract the attention of less traditional theatre companies. This, in turn, could open doors to projects that demand a unique and adaptable approach.

Reflecting on the feedback I received for my monologue, I've found it to be a crucial tool for my ongoing development in acting. Specifically, my decision to opt for more unique monologues has been a deliberate choice aimed at enhancing my ability to memorize and deliver my work effectively. While immersive theatre workshops typically emphasize improvisation and physicality, I've come to realize that refining my monologue skills can be a distinctive asset in this dynamic field

Within my reflection with Rebecca and Sita these were my main points of improvement/ reflection. The monologue that was chosen for my audition was from BeachyHeads. This monolgue was shorter which I made the panel aware of but upon feedback this was not necessary as it was still effective. I was also successful with my knowdege of both plays which was shown to the panel as was noted in my feedback. I chose more unknown monolgues as I wanted to give the panel more varietyAnother part of my feedback was disucssing my energy and professionlsm within this audition. It was expressed that broughtgood energy and would be considered for further casting in the industry. The risk of picking more abstract monolgues worked off as my strong and unique choices were noted by the panel.

Feedback & Reflection

But challenges offer an enriching experience. Immersive theatre provides a unique platform to break away from the constraints of a camera frame and connect with the audience in a visceral way. I can appreciates the differences and learn from both of them to develop my acting

As someone aspiring to delve into immersive theatre, reflecting on screen acting has been an insightful journey. While screen acting undoubtedly teaches valuable skills, transitioning to immersive theatre presents its own unique set of challenges and considerations.One of the main differences is in the audience's role. In screen acting, the audience is a passive observer, separated by the fourth wall. In immersive theatre, however, the audience is an active participant, breaking the lines between performer and audience. This shift demands a heightened awareness of audience interaction, as their reactions become integral to the performance. I definitely struggled with screen acting as staring at a spot on the wall or actively trying to avoid the camera would distract me from the scene but I became more used to it as the session went on Moreover, the physicality of the performance space poses a challenge. Screen acting often involves close-ups and controlled environments, while immersive theatre unfolds in dynamic spaces.

Screen Acting

Don't look at camera- 'Bottling the camera'
Eyeline- keep natural and move
Watch for your own mannerisms- if you usually move your head to much or blink limit that

Speaking- shouting not usually necessary due to mic
'Less is more but sometimes, less is less'- Becky

Use beats and pauses for authenticity
Know who your speaking to. Can have person sit in
Be aware of noisy clothes/ props

SelfTapes

Landscape
Eyeline- don't have too wide
Strong Character Beats
Use Tripod
Use Lightbox
Use props if mentioned in script
Try and film in day
Blank wall
Use contrasting clothes to background and try to insinuate character
Keep indent overall friendly but keep character in mind

Screen Acting & Selftapes

Strong and clear voice projection to reach and captivate audiences in crowded open spaces, ensuring the message and storytelling are heard

Adapt performances to the unpredictability of street environments, responding creatively to unexpected situations while maintaining the flow of the performance

Using body language, gestures, and physical movements to convey emotions, intensify storytelling, to immerse the audience deeper into the performance

Strong connection with the audience, breaking the fourth wall, and inviting active participation in the unfolding story, blurring the line between performer and audience

Creating multi-dimensional characters and usingthe ability to improvise within the given narrative, responding authentically and spontaneously to audience prompts

Adapt to changing scenarios within the performance, adjusting actions and dialogue based on audience interactions

IMPROVISATION

PHYSICALITY

VOCAL PROJECTION

SPONTANEITY

audience engangement

ADAPTABILITY

REFLECTION

SKILLS & techniques

Adaptability- I believe due to some of my experience I am becoming a more adaptable actor. This can always be improved but I provide a readiness for spontaneous theatre and enjoy unexpected interactions. Within my time at FEAR adaptability was a central tool to provide an effective experience for guests.

Professionalism- Within my work ethic I always prioritise punctuality, preparation and positive energy. Whether that be in rehearsal, auditions or devising I always work towards mainting professionalism. This was further enhanced within my directed devised piece as I worked well with Helena and gave lots of creative ideas. I want to always help create a positive working environment and collaborate with others

Physicality- My focus on physicality within my perfroamances adds more depth and expressiveness to my characters. I strive to connect my body fully to my characters and enjoy workshopping new ideas and approaches. This reflects the experimental approach many immersive theatre companies use as they are always evolving.

Improvisation-My previous work and experience within improvisation woud be very useful for emplyability. From my development in comedy classes to my work at FEAR I have improved immensely over the past year. I thrive in spontaneous situations and can bring dynamic ideas and energy which has been mentioned before. This is essential in live immersive perfromances as unforseen circumstances can occur

Empolyability

BRISTOL OLD VIC

BRISTOL SCHOOL OF ACTING

THE BRISTOL IMPROV THEATRE

BATH SCHOOL OF DANCE

NATURAL THEATRE COMPANY

CIRCOMEDIA

WORKSHOPS/TRAINING/COURSES

FURTHER TRAININg

Broadened Understanding-This research portfolio expanded my knowledge and changed my perspective on the industry I initally knew. Exploring more unconventional theatre forms showed me the importance of diverse storytelling methods and audiencce engagement teachniques which has broadened my awareness of what I want to develop as an actorWithinmy skillset I want to work on and imrpove my adaptability, improvisation, physicality and audience engagment. These are central cornerstones to my develpment into immersive theatre

Career Relevance-After this research portfolio I understood more industry trends as they focus on immersive theatre has emerged which I wasn't as aware of before this portfolio. I now know how to enhance my emplyability and chances of being emplyed by these companies after looking into performances/ directors and trends.Enhance Employability-I also have more passion to fuel my career as I found specific companies and workshops within my area which I can start attending to jumpstart my acting journey into immersive theatre.

Development-This research portfolio was very helpfyl as it allowed me to identify areas I specifically need to develop in order to pursue the avenue im interested in. It also has made me focus more on character and development as these aspects are so central within immersive theatre otherwise the story is lost

Significance to Career and Overall Journey

Self-Reflection on Practice for Personal Development and Career Progression

In essence, my aspiration to work collaboratively with companies like PunchDrunk and Boomtown is fueled by a genuine desire to contribute meaningfully to groundbreaking immersive experiences. Through active participation in workshops provided by these companies, I am not only investing in my own development but also aligning myself with the creative forces that inspire me.

Discovering the work of companies like PunchDrunk and Boomtown has been a positive influence on my journey as an actor. The immersive and innovative nature of their productions resonates deeply with my artistic aspirations, and I am eager to collaborate with companies that share this ethos. Recognizing that these companies have played a pivotal role in shaping acting goals, I am committed to fnding opportunities to enhance my skills and contribute to similar groundbreaking projects. I understand the importance of actively participating in workshops they offer. For instance, PunchDrunk's in-depth workshop on the creation and devising process of 'Burnt City' stands out as a valuable opportunity. By immersing myself in such workshops, I aim to gain insights into their unique methodologies, expand my creative toolkit, and develop a deeper understanding of the collaborative processes that drive their productions. However, companies such as The Natural Theatre Company and The Ugly Bucket also provide workshops that further develop key skills in immersive theatre.

Reflecting on how portfolio research has expanded my knowledge as an actor has been a very influencial process. Initially, I approached the idea of building a portfolio as a collection research work. However, the process evolved into a exploration that significantly enriched my understanding of acting and my interest in immersive theatre. My research exposed me to diverse approaches and styles that I hadn't heard of before. I encountered experiences of seasoned actors known for their immersive theatre performances, each one more proof to the power of storytelling and audience engagement. Thorough research allowed me to dissect the nuances of immersive theatre and its key components such as character development, physicality and improvisation all encompassing interactive techniques, providing a deeper understanding of what I need to develop as an actor.This research portfolio explanded my knowledge beyond the stage as it was very clear how versatile you needed to be as to become part of street theatre/ immersive theatre and promenade. Immersive theatre overall is a very experimental craft in which companies such as PunchDrunk evolve and chnage sets/ stories and locations to keep audiences consistently enagaged.

Reflection

Forced Entertainment (2019). Forced Entertainment. [online] Forcedentertainment.com. Available at: https://www.forcedentertainment.com/ [Accessed 1 Dec. 2023]. HowlRound Theatre Commons. (n.d.). Returning to the Streets: Street Theatre in Modern Society. [online] Available at: https://howlround.com/returning-streets-street-theatre-modern-society [Accessed 10 Nov. 2023].

Calf2Cow2022. (n.d.). About | Calf2Cow2023. [online] Available at: https://www.calf2cow.co.uk/about-1 [Accessed 20 Dec. 2023]. Complicité. (n.d.). Our history. [online] Available at: https://www.complicite.org/about-us/our-history/ [Accessed 20 Dec. 2023]. creativecardiff.org.uk. (n.d.). Jobs and opportunities | Creative Cardiff. [online] Available at: https://creativecardiff.org.uk/opportunities [Accessed 20 Jan. 2024].

bizarrebath.my.canva.site. (n.d.). Master Website new music. [online] Available at: https://bizarrebath.my.canva.site/ [Accessed 18 Nov. 2023].

bathghosttours. (n.d.). BRISTOL GHOST TOURS. [online] Available at: https://www.bathghosttours.com/about-3-1 [Accessed 20 Dec. 2023].

Backstage (2020). Backstage | Auditions, Casting Calls, Jobs, Talent Seeking, Advice. [online] Backstage.com. Available at: https://www.backstage.com/ [Accessed 2 Jan. 2023].

Anon, (2023). Secret & Immersive Prison Cocktail Bar & Speakeasy in Bristol. [online] Available at: https://www.alcotraz.co.uk/locations/bristol/ [Accessed 10 Jan. 2024].

Anon, (n.d.). Bread and Puppet Theater – Puppeteers and Sourdough Bakers of Glover. [online] Available at: https://breadandpuppet.org/ [Accessed 20 Dec. 2023].

Advertiser and Times. (2023). Popular festival draws big name performers. [online] Available at: https://www.advertiserandtimes.co.uk/news/popular-festival-draws-big-name-performers-9325831/ [Accessed 20 Dec. 2023].

Bibliography

Any question?

Punchdrunk (2020). Punchdrunk. [online] Punchdrunk.com. Available at: https://www.punchdrunk.com/ [Accessed 10 Nov. 2023]. Stage, O.T. (2023). The Rise of Immersive Theatre. [online] On The Stage. Available at: https://onthestage.com/blog/the-rise-of-immersive-theatre/ [Accessed 15 Nov. 2023]. The Paper Birds. (n.d.). Opportunities. [online] Available at: https://www.thepaperbirds.com/opportunities/ [Accessed 2 Jan. 2023]. The Space. (2014). What is Immersive Theatre? - The Space. [online] Available at: https://space.org.uk/2014/08/04/what-is-immersive-theatre/ [Accessed 15 Nov. 2023]. The Wardrobe Theatre. (n.d.). The Wardrobe Theatre. [online] Available at: https://thewardrobetheatre.com/ [Accessed 2 Jan. 2024]. Time Out London. (n.d.). Time Out’s guide to interactive and immersive theatre in London. [online] Available at: https://www.timeout.com/london/theatre/immersive-theatre-in-london [Accessed 2 Jan. 2024].

If theatre be the food of love, play on... (2014). Beginner’s Guide to Punchdrunk. [online] Available at: https://gailebishop.wordpress.com/beginners-guide-to-punchdrunk/ [Accessed 10 Nov. 2023]. info@mandy.com (2019). The Mandy Network | Jobs for actors, performers, filmmakers and production crew. [online] Mandy. Available at: https://www.mandy.com/ [Accessed 2 Jan. 2024]. JaneAusten.co.uk. (n.d.). The Jane Austen Festival, Bath, UK. [online] Available at: https://janeausten.co.uk/pages/festival-home-page [Accessed 18 Nov. 2023]. janeausten.co.uk. (n.d.). Festival - Get involved - Performers & Events - Jane Austen Centre Bath. [online] Available at: https://janeausten.co.uk/pages/festival-get-involved-performers-events [Accessed 20 Dec. 2023]. Lou Rowe. (2016). C3-Promenade Theatre. [online] Available at: https://louannrowe6.wordpress.com/commission-three-task-two-promenade-theatre/ [Accessed 22 Nov. 2023]. Natural Theatre Company. (n.d.). Immersive Theatre Performances | Immersive Theatre Company. [online] Available at: https://naturaltheatre.co.uk/performance/ [Accessed 5 Dec. 2023].

Bibliography

Any question?

Visit Bath. (n.d.). The Jane Austen Festival. [online] Available at: https://visitbath.co.uk/whats-on/the-jane-austen-festival-p2988663 [Accessed 18 Nov. 2023]. www.boomtownfair.co.uk. (n.d.). Careers & Creatives | Boomtown ‘Revolution of Imagination’ 2024. [online] Available at: https://www.boomtownfair.co.uk/connect/careers [Accessed 20 Dec. 2023]. www.boomtownfair.co.uk. (n.d.). Info | Boomtown ‘Revolution of Imagination’ 2024. [online] Available at: https://www.boomtownfair.co.uk/info [Accessed 20 Dec. 2023]. www.catherinewheels.co.uk. (n.d.). Hansel and Gretel - Catherine Wheels Theatre Company. [online] Available at: https://www.catherinewheels.co.uk/productions/Hansel+and+Gretel [Accessed 15 Nov. 2023]. www.facebook.com. (n.d.). Log in or sign up to view. [online] Available at: https://www.facebook.com/dumbfoundtheatre/ [Accessed 20 Jan. 2024]. www.spotlight.com. (n.d.). Performers. [online] Available at: https://www.spotlight.com/join-us/performers/ [Accessed 2 Jan. 2024]. www.theatreroyal.org.uk. (n.d.). Feel Me. [online] Available at: https://www.theatreroyal.org.uk/events/feel-me/ [Accessed 15 Nov. 2023]. www.theatreroyal.org.uk. (n.d.). Ustinov. [online] Available at: https://www.theatreroyal.org.uk/your-visit/ustinov/ [Accessed 2 Dec. 2023].