UNITS 4&5 - DEVISING

DEVISING UNITS 4 & 5

Index

STIMULUS

SOUND DESIGNER RESEARCH

THEMES

DEVISING INTRODUCTION

UNITS INTRODUCTION

CHARACTER RESEARCH/ANALYSIS

SOUND DESIGNER PROCESS

IDEA PROCESS(INC. INITIAL IDEAS)

MY LOGS

THANK YOU!

CHARACTER QUESTIONAIRE & STATUS

BIBLIOGRAPHY

EVALUATION OF PIECE/PROCESS

In this unit, I will be explaining the meaning of devising to others, the skills and techniques needed to devise a piece. This will help me recognise more weaknesses I have that I will be able to work on throughout this project. I will also talk about the research I have found on children’s theatre and what is appropriate to use in my piece for my targeted audience of 10-13 in my devised performance. Furthermore, I will also explain my research on my stimulus and the time-period my stimulus is from, delving into the social, historical and cultural context of the 80’s, giving me more depth to my knowledge of my stimulus so that I am able to use it as inspiration for a performance I will be creating with my group. I will also delve into the private schools and phrases used during that time and themes of my stimulus so that I am able to use these themes and issues to convey a message to my audience through my play. Moreover, I will be researching the role of a sound designer, my given role for this unit, so that I can expand my knowledge on what they do and so that I have a better understanding of what I need to do for this role. I will then move onto talking about the process of devising, creating my piece with my group. This includes thinking about the given circumstances of our ideas, using our imagination and creativity, coming up with our character profiles and much more. I will be writing the process of creating the performance. In addition, I will record the process of completing my role in this unit, sound designer. By the end of this portfolio, I should have the full process of devising my piece complete, I will end this portfolio with an evaluation of the process and the piece, finishing with my bibliography. I hope you become hooked by the interesting and exciting process of devising. I thank you for taking your time to read this.

UNITS INTRODUCTION

SECTION 1: DEVISING INTRO & STIMULUS RESEARCH

WHAT DEVISING IS, SKILLS & TECHNIQUES, INDUSTRIES AND MORE...

Pages 4-7

Devising or collaborative creation is a mode of making performance used by many contemporary theatre companies, and widely taught in schools and universities across Europe, America and Australia (Book: Devising performance – writer: Deirdre Heddon and Jane Milling, Page 1 Introduction, Year 2005). Devising is the process of a group working together to create an original performance in response to a stimulus. "Devising" is a flexible phrase that can be used in a variety of circumstances, all of which are based on the core notion of organising, coming up with, or producing anything by careful thought and inventiveness. Creating something new is the process of devising in the context of invention or creation using a stimulus as inspiration. When used in non-theatrical settings, 'devising' suggests the craft of making within existing circumstances, planning, plotting, contriving and tangentially inventing (Book: Devising performance – writer: Deirdre Heddon and Jane Milling, Page 2 Introduction, Year 2005). This can include coming up with a methodical framework, a thorough plan, a methodical approach, or a creative solution to a specific issue. This approach frequently requires a certain amount of uniqueness and ingenuity, which encourages people to think beyond the box. Among the theatre community, creating assumes a distinct role as an artistic endeavour between a collective of actors. The main goal of this cooperative method is to create a performance without using a traditional script. Rather, they participate in a dynamic process that encompasses experimentation, improvisation, and the investigation of various concepts. Making a performance that is unique and original is the goal, as it allows for an organic and genuine expression of creativity while releasing the performance from the confines of pre-existing storylines. This aspect of planning emphasises how important it is to give strategies and plans, considerable thought and forethought to create success and authenticity in a performance. Whether engaged in the act of invention, collaborative theatrical ventures, or strategic planning, creating necessitates a deliberate and purposeful investigation of ideas. It requires not only creativity but also critical thinking and problem-solving ability. Devising encourages people to explore new territory, question norms, and deviate from traditional techniques. It is a dynamic and ever-changing process that promotes the acceptance of ambiguity, experimentation, and the pursuit of innovative solutions. Finally, inventing demonstrates the natural human capacity for ingenuity, enabling the continuous creation of new ideas and the realisation of creative concepts across a wide range of undertakings. The use of the word 'devising' to describe this set of practices for making theatre has led some commentators to suggest that there is no distinction to be made between devised work and other modes of theatre production(Book: Devising performance – writer: Deirdre Heddon and Jane Milling, Page 2 Introduction, Year 2005). Arguably one of the most creative and interesting ways to produce art, created work is inspired by the artists' real-life experiences, feelings, ideas, and reactions. It is personal and immediate. A designed piece of theatre can start with anything: a painting, a song, a real-life occurrence, an adaptation of a novel, and so on. Devising allows actors to take on a variety of roles throughout the creative process. They can effectively apply knowledge to investigate ideas and subject matter that are relevant to their individual passions by participating in the selection of stimuli. This technique allows performers to actively shape the course of their creative pursuits, instilling a sense of ownership and personal commitment in the product. Whether through theatrical initiatives, strategic planning, or problem-solving situations, the act of inventing allows them to navigate their creative path by contributing their unique perspectives and insights to the creation of meaningful and personally relevant art. In essence, designing serves as a dynamic platform for performers to honestly express themselves while improving their teamwork, critical thinking, and creative expression skills.

DEVISING AND WHAT IT IS

Audience: An audience is a group of people who participate in a show or encounter a work of art, literature, theatre, music, video games, or academics in any medium. Through different performances, the audience are there not only to watch it as entertainment, but the performances are also created for them to watch in order to acknowledge, recognise and think about certain issues in society. This makes the audience want to change certain problems and struggles within today’s society. The audience influences every facet of the creation of a theatrical performance. Initially, the audience serves as the driving force behind the play or performance's substance. The audience members connect with one another and the artists in a way that adds to the overall experience. Actors engage with the audience through their performance and all of its skills/elements, including tone of voice, body language, and facial expressions. This connection portrays emotions, ideas, artistic expression, and plot, immersing the audience in the art of imagination.

STIMULUS AND AUDIENCE

Stimulus: a starting point or trigger to generate ideas. Usually actors work from the stimulus of a script which is a blueprint for making a play. A stimulus in performance is something that is given to the performers, such as lyrics, poems, videos, objects etc, which they use as inspiration and enhance their imagination and creativity to create a play/performance/piece. This usually happen when they are using the technique of devising. A stimulus can be simple or complex. Performers then go and research what they have been given as a starter to get some background information about it, helping them come up with ideas for a performance. This starting point is used to provoke performers into thinking outside of the box. Devising is a good way to teach the brain to be creative and imaginative.

Children's Theatre: plays specifically created and performed for children. Children's Theatre is usually targeted for children between the ages of three to eleven. It has specific performance conventions that are incorporated to engage the audience and reinforce meaning.Children's theatre is widely appreciated for its educational influence, as it provides both enjoyment and enlightenment to young audiences. Beyond sheer enjoyment, live performances play an important role in instilling a love of reading in children, as they bring books vividly to life, attracting even the most hesitant readers. Unlike passive forms of entertainment such as films, theatre actively engages its audience, requiring them to participate in the story. This not only encourages a stronger connection to the story, but it also develops important social and cognitive abilities in young audiences. Children's theatre caters to a vast spectrum of tastes and passions, with styles and genres ranging from charming puppets to captivating musicals. The Paper Bag Players, for example, provide a distinct and appealing kind of children's theatre. Even in stories with deeper or sadder themes, humour is an effective strategy for connecting with and engaging young audiences. Children's theatre handles its plays with honesty and respect, seeking to entertain as well as educate. It attempts to deliver not only academic understanding but also emotional enrichment to its audience, resulting in a complete and comprehensive experience. Fast-paced and visually appealing, theatre for young children catches their attention and leaves an indelible impact, creating a lifetime passion for performance. Incorporating humour, colourful imagery, and active characters enhances the entertainment value by encouraging connection and stimulating imagination. Music and melodies improve narrative, while shorter durations and safety considerations keep the audience pleasant and safe. When creating a children's theatre play, some features must be avoided to guarantee that the show is appropriate and engaging for young audiences. To keep the ambiance family-friendly, any violent or graphic content, including explicit language and sexual themes, should be avoided. Similarly, difficult or esoteric topics might confuse or repel younger audiences, so they make the play simple and easy to follow. Stereotypes, discrimination, and references to drugs or substance use should all be avoided in order to encourage inclusivity and have a beneficial impact on children's perception. Additionally, highly terrifying or dismal topics should be avoided, as they may elicit unpleasant feelings in youthful audiences. By following these criteria, children's theatre may create a safe, uplifting, and enriching experience for its young audience.

CHILDREN'S THEATRE RESEARCH (AGES 10-13)

Devised theatre is when a group of people work together to create a performance without using scripts or a predetermined idea of what it will be. Devised theatre is normally based around a stimulus or an object to which you build your performance around. Devised theatre can be traced back to 16th- century Italy, when Commediadell'arte, a new type of travelling theatre that featured players, acrobats, and street entertainers, gained popularity. Commediadell'arte(" Comedy of Art" or" Comedy of the Professional") refers to verbal or robotic performances. This new kind of theatre emphasised the actors' performances over the subject matter of the plays. The goal of this company was to be recognised as professional players, hence there were no writers, directors, choreographers, or constant scripts. Carlo Goldoni was the first person to name this new art form and appertained to it as “professional theatre” in one of his plays called “Il Teatro Comico” (the ridiculous theatre). According to history, Goldoni's statement was misinterpreted as sardonic affront since he was truly opposed to the conception of robotic theatre and preferred rigorously written erudite performances. Some believe that the first time we heard of this kind of performance was during the Roman period, when it was utilised to act out old legends. Five males would play out stories using coarse humour and crazy physical comedy. Each joker would borrow a distinct identity and act out these legends unscripted. Some people look to Etienne Decroux, who was a mimic and preceptor, as the originator of the ultramodern devised performance. Decroux was an active pantomime from 1932 – 1968 and he was the first to truly encourage his acting scholars to produce their own work, therefore instigating devised theatre as we know it moment. Historically, devised theatre is also explosively aligned with physical theatre, due at least in part to the fact that training in similar physical performance forms as commedia, mimic, and clown tends to produce an actor- creator with important to contribute to the creation of original work. In devising, improvisation is generally confined to the creation process by the time a devised piece is presented to the public, it generally has a fixed, or incompletely fixed form. Some examples of companies that use devised theatre/physical theatre are Frantic Assembly, The Paper Birds, Complicite (Founded in 1983 by Annabel Arden, Fiona Gordon, Marcello Magni and Simon McBurney), David Glass Ensemble (Established in 1990), Gecko (led by Artistic Director Amit Lahav) and many more.

DEVISING - HISTORICAL CONTEXT AND COMPANIES THAT USE IT

Devising involves a range of skills and techniques that contribute to the creative and collaborative process. For example:Storyboarding: the process of planning and organising the order of events or ideas in a project using visual representations, such as sketches or diagrams. Physical Theatre Techniques: Using movement, gestures, and bodily expressions to portray ideas, emotions, or stories. Character development: the process of creating and shaping characters, including their personalities, motives, and connections, within a predetermined setting. Scripting and conversation: Creating conversation or scripts collectively to articulate ideas, storylines, or performances within a predetermined framework. Object manipulation: the creative use of actual things or props to enhance storytelling or communication in a specific environment. Trial & Error: Adopting an iterative approach, experimenting with various concepts, and learning from what works and what does not. Mind Mapping: the process of visualising and organising ideas in a diagrammatic format to discover connections and interactions between various aspects. Role Switching: Participants take on multiple roles or views in order to obtain a better understanding of characters, topics, or events.

Devising describes a dynamic and innovative process in which individuals collaborate to create content or techniques. For example, these are some factors to consider when creating: Collaboration: Devising often involves working with others, so effective collaboration is crucial. Foster an environment that encourages open communication, idea-sharing, and respect for diverse perspectives. Embrace the collective creativity of the group. Creativity: Devising is inherently a creative endeavour. Encourage thinking outside the box, exploration of unconventional ideas, and the freedom to experiment. Creativity is the engine that drives the devising process. Research and Exploration: Dive into research to gather inspiration and understanding. Explore different stimuli, source materials, or concepts relevant to the project. A well-informed exploration can provide a solid foundation for creative ideas. Adaptability: Devising often involves a fluid and evolving process. Be open to adapting your ideas and approaches based on the group's discoveries and the direction the project naturally takes. Flexibility is key. Reflection: Regularly reflect on the progress of the project. Consider what is working well, what needs improvement, and how the group dynamics are influencing the outcomes. Reflection fosters continuous learning and refinement. Inclusion of Everyone: Ensure that everyone in the group could contribute and feel valued. Inclusivity fosters a richer and more varied creative output. Structured Process: While devising allows for flexibility, having a basic structure or framework can provide a roadmap for the creative journey. This might include brainstorming sessions, improvisation, and iterative refinement. Remember that devising is a dynamic and iterative process, and these elements can evolve as the project progresses. Embrace the spontaneity and creativity that devising offers while also maintaining a thoughtful and purposeful approach to your work.

DEVISING SKILLS AND TECHNIQUES

The Smiths band started in 1982 as a formidable British Rock Band that would significantly impact the musical landscape. The genesis of The Smiths unfolded when Morrissey, an aspiring lyricist and music enthusiast, crossed paths with guitarist Johnny Marr at a Patti Smith concert in 1978. Bonding over their common love for music, they decided to collaborate. Subsequently, Marr approached bassist Andy Rourke and drummer Mike Joyce in 1982 to complete the band's lineup. They became a cohesive ensemble, driven by a shared vision of creating unique and meaningful music. The Smiths were driven by a mutual ambition to provide something unique to the music scene, combining Morrissey's heartbreaking lyrics with Marr's musical brilliance. The Band consisted of Morrissey as the vocalist, Johnny Marr handling guitar duties, Andy Rourke on bass, and Mike Joyce on drums, the band distinguished itself with a unique sound characterized by a fusion of indie rock and post-punk influences. The smiths came into the spotlight in the 1980s. Iconic tracks like “This Charming Man” and “There is a light that never goes out” showcased the bands capability to weave introspective lyrics into a musical shade that reverberated with a diverse audience. Their songs excavated into various themes such as lack of affection, love and societal compliances, creating a profound connection with their listeners. Despite disbanding in 1987 after a relatively brief existence, The Smiths’ impact endured, leaving an unforgettable imprint on the indispensable rock genre. The lyrical prowess of Morrissey, coupled with Marr’s musical artificer, solidified The Smiths’ heritage as a deified and influential force in the history of British Rock, continuing to inspire posterior generations of musicians. The Smiths' musical heritage is strongly established in a unique blend of indie rock and post-punk influences. Johnny Marr's elaborate and jangly guitar work is central to their style and has become a defining characteristic of their music. Morrissey, the band's frontman, contributed considerably with his expressive and introspective lyrics, adding a poetic depth that distinguished The Smiths. Their works frequently explore themes of isolation, love, and keen societal observations. The Smiths' musical environment is defined by a combination of cheerful and mournful tones, providing listeners with a wide spectrum of emotional experiences. Marr's guitar melodies, along with Morrissey's distinct vocal delivery, form a sonic tapestry that connects with the audience. Their impact goes beyond their active years, influencing the future of alternative and indie rock genres. The Smiths' music, whether on legendary tracks like "This Charming Man" or "There Is a Light That Never Goes Out," combines melodic elegance and edginess. Their ability to provoke a wide range of emotions has made an indelible mark on the music industry, establishing them as pioneers in the alternative rock landscape.

STIMULUS RESEARCH - THE SMITHS

In the 1980s, England experienced significant social, economic, historical, and cultural developments. This decade was distinguished by the continuation of Margaret Thatcher's conservative government, with economic policies advocating for free-market principles and less state intrusion, sometimes known as "Thatcherism." Privatisation, deregulation, and changes in worker relations all occurred during this time. Economic issues were clear, with significant unemployment rates in specific regions and industries, as well as favourable results from economic restructuring. Social unrest erupted in rallies against government policies, notably those addressing issues such as unemployment, nuclear disarmament, and anti-apartheid campaigns. There were two sides to life in Britain in the 1980s. On the one hand, there was a severe recession in the times 1980- 1982 and there was mass severance during the decade. The sanctioned severance rate stood at 5.3% in May 1979. It rose to 14.1% in 1986 also fell to 5.6% in 1990. On the other hand, most people with steady jobs saw a large increase in income. The sociopolitical climate of 1980s England was dynamic, reflecting a combination of economic changes, cultural shifts, and continuous social issues. Despite these complications, the era provided a backdrop for artistic expressions, with music, fashion, and art playing critical roles in crafting the story of the time. England became consumed by a social, cultural, and political counter-revolution. There was violence on football fields and in inner-city streets. There was a big social gap separating the working class and the middle upper class, leaving many of the poor without a job, money or homes. In 1979, there were nearly one million unemployed individuals, but this number quickly increased to three million in the early 1980s and has never fallen below one million since. Factories and industries were shut down by the conservative party with Thatcher, causing destruction for the working class, losing jobs.

1980'S SOCIAL CONTEXT - ENGLAND

Live AID (1985) - Live Aid was a benefit concert for famine assistance in Ethiopia that took place simultaneously in JFK Stadium in Philadelphia and Wembley Stadium in London. Major industries privatised (1986) - Throughout the 1980s, the Conservatives embarked on a privatisation campaign for state-owned firms. Major companies such as British Telecom (1984), British Aerospace (1986), Rolls-Royce, and British Airways (both 1987) were privatised in the assumption that privatised firms would be more efficient and productive, allowing more members of the public to become shareholders. Thatcher wins third general election for conservatives (1987) - The Conservative Party lost 21 seats in Parliament during the 1987 general election. While sufficient to give Margaret Thatcher another chance as Prime Minister, nothing was quite the same. Pushback to privatisation prompted Conservatives to seek other problems, including personal agendas, and was possibly the beginning of the end for Thatcher's administration.

The 1980s in England witnessed a series of notable historical events and issues that shaped the nation's trajectory. Fro example, the 7 main events happening during this time was:Wedding of Prince Charles and lady Diana (1981) - Prince Charles and Lady Diana Spencer married at St Paul's Cathedral in London, and an estimated 750 million people across the world watched on television. Though their marriage did not last long as they divorced in 1996 after having two children. Falklands War (1982) - England engaged in a ten-week conflict with Argentina over the Falkland Islands. It began when Argentina took control of the British dependent territory of the Falkland Islands, South Georgia, and the Sandwich Islands. The hostilities lasted ten weeks, and Argentina surrendered after the British military responded.Thatcher wins landslide (1983) - Another positive impact of the Falklands War for Britain was Margaret Thatcher's increased popularity because of the victory.Miners' Strike (1984-1985) - Coal miners went on strike for several weeks to protest projected pit closures and reforms in the mining industry, which had far-reaching social and economic effects.

Brit History: Seven Most Important Events in British History of the 1980s

• 1981 – Wedding of Prince Charles and Lady Diana.
• 1982 – Falklands War.
• 1983 – Thatcher Wins Landslide.
• 1984/85 – Miners' Strike.
• 1985 – Live Aid.
• 1986 – Major Industries Privatized.
• 1987 – Thatcher Wins Third General Election for Conservatives.

1980'S HISTORICAL CONTEXT - ENGLAND

During the 1980s, England grappled with a spectrum of cultural issues reflecting the era's socio-political landscape:

• Class Disparities: Economic policies, particularly those of Margaret Thatcher, contributed to increased economic disparity, sparking debates about class battles and societal divisions.
• Unemployment Challenges: High unemployment rates in some regions and industries exacerbated societal unrest and riots. The demise of historic sectors sparked arguments over the government's economic strategy.
• Youth Subcultures: The 1980s saw the rise of different young subcultures such as the New Romantics and the alternative music movement. These movements frequently functioned as displays of identity and opposition.
• Anti-Apartheid Activism: There were huge rallies in England against apartheid in South Africa, with activists asking for economic sanctions and boycotts to remove racial segregation.
• Nuclear Disarmament Debates: Discussions and protests over nuclear disarmament were commonplace. Concerns over the arms race and nuclear weapons deployment fuelled the Campaign for Nuclear Disarmament (CND).
• Racial Tensions: Racial tensions rose throughout the decade, with topics including police relations and urban unrest at the forefront. The 1981 Brixton riots exposed underlying racial and societal issues.
• LGBTQ+ Rights Advocacy: Ongoing discussions and activism about LGBTQ+ rights were part of the cultural discourse, reflecting a larger societal movement towards recognising and campaigning for equal rights.

1980'S CULTURAL CONTEXT - ENGLAND

During the late 1970s and early 1980s in England, the working class faced many challenges. Economic problems were big as inflation surged, reducing the value of money, and salaries stagnant during increasing living costs. Unemployment increased due to conventional industries such as coal extraction and production went under, leaving many people without steady jobs. The Thatcher government's neoliberal policies, which included privatisation and trade union reforms, worsened these problems by undermining workers' rights and job security. Industrial disputes, particularly the miners' strike, put a burden on organised labour and heightened societal tensions. Amidst these economic hardships, societal movements towards materialism and shifting family patterns added to the stress. Overall, the working class faced poverty, unemployment, loss of rights, and societal events, all of which impacted their lives and well-being. In the late 1970s and early 1980s, the working class faced a slew of health issues caused by their difficult living and working conditions. Workers in industries such as coal mining and manufacturing were exposed to dust and pollution, which caused common respiratory problems including bronchitis and asthma. Physically demanding employment linked to a wide range of musculoskeletal problems, including back discomfort and repetitive strain injuries. Stress and depression were typical mental health issues during times of economic uncertainty and job instability. Limited access to healthcare and inadequate nutrition exacerbated these health inequities. Medication expenses were an immense struggle, leaving many working-class people unable to afford the necessary prescriptions. The lack of government support or cost control reinforced the issue, requiring tough choices between critical treatments and basic requirements. These concerns exposed deeper issues of inequality in society and healthcare disparities among the working class. In the late 1970s and early 1980s, working-class families formed strong friendships in the face of economic hardship and employment instability. Parents prioritised their children's well-being, frequently sacrificing their own wants to provide assistance. Children reciprocated by taking up household responsibilities and, in some cases, working part-time to help with finances. Despite unavoidable conflicts, familial bonds remained strong, providing a source of comfort and stability during difficult times. During the late 1970s and early 1980s, the working class faced economic stability discrimination and the depreciation in society. Despite their critical economic function, they suffered poor incomes, difficult working conditions, and limited chances, which reinforced social inequality. Negative assumptions about blue-collar workers further alienated them, and government policies frequently ignored their needs, increasing problems like poverty and insufficient healthcare access. Individuals suffering from mental or physical illness were also subjected to stigma and mistreatment, with mental health disorders criticised and physical ailments creating exclusion challenges.

WORKING CLASS IN THE 70-80'S AND THEIR STRUGGLES

In the 1980s, England experienced the beginning of various slang words and phrases that defined the essence of the time period. Some of the most common terms were "rad" or "radical," which signified something extraordinary or cool, and "totally tubular," which represented immense excitement. "Bodacious" was another phrase used to describe anything remarkable or excellent, but "gnarly" described difficult or extreme events, usually in a good way. "Wicked" was used to express appreciation or consent, but "grody" meant disgust or repulsion. Valley Girl culture popularised phrases such as "gag me with a spoon" and "like, totally," which added character to conversations. "No worries" became a popular method to calm or dismiss concerns, whereas "bog off" was used as a brusque dismissal. Furthermore, phrases like "Jheez, what's your damage?" and "bite me" developed, demonstrating the casual and expressive nature of the slang and terminology trends of the time. "Skint" also became popular, representing the financial difficulties suffered by many throughout the era, particularly among young people who sarcastically admitted their financial difficulties. In the 1980s, the term "couch potato" became popular to characterise someone who spent a lot of time relaxing or watching television. It became a comical albeit accurate description of those who chose lazy interests, particularly in front of the television. The expression reflected societal developments towards increased leisure time and the growing popularity of television as a form of amusement during that time. It also raised worries about the potential health risks of a sedentary lifestyle, although in an amusing manner. "Couch potato" entered the vocabulary of slang terms during the period, demonstrating the changing world of culture and views towards socialising and having fun. Alongside these phrases used in the 80’s, other words became popular to use such as “ditz”, “epic”, “as if” “dipstick”. These terms all portrayed the captivating culture of the 80’s in England.

PHRASES AND WORDS USED IN THE 1980'S IN THE UK

In the 1980s, private schools in England largely provided wealthy families, implying social status and luxury through their confined educational possibilities. Private schools, which were attended by pupils from upper or upper-middle-class homes, were sometimes financially out of reach for many due to expensive tuition rates. While some families made compromises for tuition, a significant percentage of the population were not able to afford it. Teenagers' experiences at private schools in the 1980s varied significantly. While some students loved the academic discipline, extracurricular activities, and social advantages others considered the environment too harsh or disconnected from society. Private schools frequently imposed strict regulations and disciplinary practices, which contributed to feelings of entrapment among certain students. Additionally, the expectation to succeed academically and comply with social standards led to worry and anxiety for certain students. However, other students thrived in the strict setting and admired the opportunity for personal and academic growth. Despite advantages, private schools had challenges in comparison to public schools. The high expense of fees reduced availability, which led to a less financially diverse population of students. This economic barrier contributed to a lack of access to diverse beliefs and experiences. Furthermore, the focus on academic success in private schools caused pupils to feel stressed and under pressure, leading to depression or anxiety. The rigid discipline and conventional educational approaches used in some private schools did not suit each pupil's educational style or preferences, causing feelings of alienation or distress. A lack of diversity in terms of colour, ethnicity, and economic status, along with a lack of government inspection, led to fluctuations in educational levels and expectations. Student relationships in private schools varied based on school environment, demography, and social dynamics. Some private schools promoted close relationships in which students created deep friendships based on common experiences, hobbies, or histories. However, competitiveness began to arise, particularly in academically challenging schools or those with strong reputations. Socioeconomic class, cultural diversity, and individual personality traits all had an impact on student behaviour, changing their intimate connections and interactions with others. Arguments in friendship groups at private schools often revolved around typical teenage concerns such as rumours, gossip, romantic conflicts, social status, and debates about group dynamics. Academic competitiveness and performance differences, as well as disagreements over values or lifestyle choices, all led to stress and school drama. Conflicts were frequently worsened by social media, with arguments occasionally bursting online or over texts. Despite providing friendship and support, these groups experienced typical adolescent issues and disputes.

PRIVATE SCHOOL EXPERIENCES

During the 1980s, kids from different classes of society attended public schools in England, which were government-funded and available to all. These schools traditionally served kids from a variety of backgrounds, ranging from working-class to middle-class, and occasionally wealthy families. Unlike private schools, which frequently charged expensive tuition fees, public schools were open to all pupils, regardless of financial status. As a result, public schools had more broadly diverse student populations than private schools. Teenagers’ experiences in the 1980s England's public educational systems were different. Some people enjoyed friendships and different connections, while others found the school system insufficient. The standard varied according on funding, resources, and teaching standards, including concerns such as overcrowded classrooms and insufficient extracurricular options. Despite challenges, some kids succeeded both academically and socially, making use of the many learning opportunities they were given. Individual viewpoints and school situations affected attitudes towards public school experiences at that time. In the 1980s, public schools had more difficulties than private schools, such as crowded classrooms and restricted resources due to government support. Unlike private schools, they struggled to provide individual attention to children and were limited by government inefficiency and standard curriculum. The lack of flexibility and vulnerability to political influence had an impact on decision-making and school culture. Furthermore, due to limited resources, public schools struggled to meet the different requirements of students. Despite being accessible, these limits had an impact on the teaching quality and the learning experience. In public schools during the 1980s, student relationships varied based on elements such as school size, the population, and social factors. Some students created deep friendships and beneficial social circles by relating about shared passions, experiences, and backgrounds. In these groups, students frequently gave each other with emotional support, friendship, and a sense of belonging. However, public schools were also competitive environments, especially if they were academically tough or had a diverse student body. Competition for academic accomplishment, extracurricular success, or social prestige caused conflicts or rivalries among students. Friendship arguments in public schools frequently revolved around teenage difficulties such as rumours, gossip, and romantic conflicts, as well as disagreements about social status and group dynamics. Academic competition created tensions, with some students feeling overshadowed or alienated. Conflicts also emerged from differences in values, beliefs, or lifestyle choices, especially in diverse school settings. Social media intensified arguments, often intensifying them online or through texts, yet despite these struggles, friendship groups in public schools managed typical adolescent problems while keeping their friendships.

PUBLIC SCHOOL EXPERIENCES

Teenagers in the 1980s were frequently defined by their own sense of style, music tastes, and social activities. They were influenced by a variety of cultures and trends, including punk, new wave, and hip-hop, which each represented distinct attitudes and expressions of teenage revolt and identity. Fashion choices ranged from flamboyant and edgy to preppy and traditional, demonstrating the diversity of teenage culture. The rise of MTV and music videos also influenced teenage tastes and habits. Furthermore, teenagers in the 1980s were noted for their involvement in social and political concerns such as sustainability, nuclear weapons elimination, and the fight for civil rights, indicating a desire for improvement and engagement. Teenagers were passionate about a wide range of hobbies and activities that reflected contemporary cultural trends, music being a major passion. Many teenagers were huge fans of bands like The Clash, Duran Duran, Madonna, and Michael Jackson, and attending concerts and collecting records was a popular activity. Fashion was another major obsession, with teens experimenting with bold and varied looks inspired by superstars such as Madonna and Boy George. Movies also had a huge impact on teenage culture, with popular movies such as "The Breakfast Club," "Back to the Future," and "Fast Times at Ridgemont High" influencing their preferences and interests. Overall, teenagers' interests and passions in the early 1980s were focused on music, fashion, movies, and social causes, reflecting their desire for self-expression, connection, and social change. In the 1980s, upper-class 17-year-olds often participated in a variety of activities reflective of their social level and access to resources. These activities frequently included luxury sports like polo, tennis, or golf at exclusive clubs, as well as attending high-profile social events like debutante balls and galas. They also received educational growth through private tutoring, cultural activities, and trips abroad, which encouraged curiosity about the world and diverse perspectives. Adolescents of this time period frequently ignored society norms and parental authority by staying out late, attending unsupervised parties, exploring with alcohol or drugs, and developing romantic relationships. They also sought independence by choosing choices about school, job opportunities, and personal values that opposed family expectations. Overall, their activities were a natural result of adolescent rebellion and a desire for independence as they entered adulthood.

TEENAGERS & ACTIVITIES IN THE 80'S

The Smiths' lyrical content covers a wide range of themes, demonstrating their creative development. Love and relationships are major topics, merging romance with melancholy in songs such as "There Is a Light That Never Goes Out" and "Please, Please, Please, Let Me Get What I Want." The band frequently discusses sentiments of isolation and alienation. They criticise themes like class conflict and political conservativism. Morrissey's contemplative songs reflect Personal Reflections. The Smiths' lyrical content represents a comprehensive approach, connecting with their fans, across a range of emotions and experiences, both personal and societal. The Smiths' song "Shoplifters of the World Unite," was released in 1987, and is frequently seen as a critique of consumer society, cultural conventions, and capitalism's constraints. The title, which plays on Karl Marx's phrase "Workers of the World, unite!", symbolises a call to action against a materialistic society. Morrissey uses the act of shoplifting, which is also known as petty theft, as a metaphor for rebellion and resistance to materialism and conformity. The chorus "Shoplifters of the World, Unite and Take Over" might be understood as a rallying cry for people to reject consumerism's superficial values and reclaim control over their life. Morrissey's comments express dissatisfaction with the meaninglessness of materialistic pursuits and the limitations imposed by cultural standards. Throughout the song, Morrissey discusses themes of alienation, disillusionment, and a desire for something more substantial than the shallow trappings of consumerism. The lyrics express dissatisfaction with the emptiness of worldly aspirations and the limitations imposed by society norms. However, their audience may discover personal resonance in the lyrics depending on their own experiences and perspectives.

SHOPLIFTERS OF THE WORLD, UNITE - RESEARCH

"You're a Mean One, Mr. Grinch" from the iconic animated movie "How the Grinch Stole Christmas!" provides an impactful portrayal of the grinch. Thurl Ravenscroft sings the song, which uses bright and hysterical images to convey the Grinch's unlikable qualities and malicious nature. The lyrics of the song are a humorous yet direct criticism on the Grinch's personality, appearance, and actions. Each line depicts his hideous appearance, portraying him as "cuddly as a cactus" and with a "heart full of unwashed socks." These detailed depictions not only highlight the Grinch's undesirable attributes, but also contribute to Dr. Seuss' colourful and imaginative universe. Throughout the song, the phrase "You're a mean one, Mr. Grinch" appears again, emphasising the fundamental idea of the character's malevolence. From "nasty, wasty skunk" to "garlic in your soul," the lyrics make it clear that the Grinch is the story's antagonist. However, beneath the hysterical superficial appearance, the song reveals a more significant message. While the Grinch's attitude is clearly exaggerated for humorous effect, the change from a bitter and arrogant protagonist to one capable of compassion and generosity emphasises the value of empathy and understanding. The song reminds us that even persons who appear mean-spirited or unlikable may have underlying motives for their actions and can change for the better. Overall, "You're a Mean One, Mr. Grinch" is a popular and enjoyable song that also plays an important role in the Grinch's character development. " How the Grinch Stole Christmas” 's ongoing appeal is due in part to its comical lyrics and diverse melody, which state a lasting message about the omnipotence of sympathy and redemption.

YOU'RE A MEAN ONE - GRINCH RESEARCH

While "You're a Mean One, Mr. Grinch" and "Shoplifters of the World Unite" appear to be totally different —one a humorous holiday song, the other a critique of consumption culture—they have underlying themes that connect them in in unforeseen ways. Both songs explore the idea of rebelling against cultural conventions and expectations. In "You're a Mean One, Mr. Grinch," the Grinch is an antagonist who opposes the conventional joy and cheer associated with Christmas, preferring to isolate himself and neglect the holiday's spirit. Similarly, in "Shoplifters of the World Unite," Morrissey portrays shoplifting as a metaphor for rebelling against consumerism and materialism, asking audience to resist the demands of capitalism. Furthermore, both songs highlight issues of alienation and hopelessness. The Grinch is presented as a stranger, rejected by Whoville due to his cruelty and hatred for Christmas celebrations. Similarly, "Shoplifters of the World Unite" expresses dissatisfaction with the shallowness of materialistic desires and the emptiness of consumerism, encouraging audiences to seek originality and significance. Furthermore, both songs reflect on the complexity of human nature. Despite the Grinch's early aggressive actions, his final redemption and transformation establish people's ability to change and grow. Similarly, "Shoplifters of the World Unite" urges its audience to think about the triggers fuelling societal disregard and the requirement for authenticity in a developed environment. In conclusion, while "You're a Mean One, Mr. Grinch" and "Shoplifters of the World Unite" have different attitudes and contexts, they both deal with themes of rebellion, alienation, and disapproval. Both songs provide insights into the human condition and motivate audiences to challenge social standards while pursuing honesty as well as significance in their life.

STIMULI LINK TOGETHER - THEMES.

My stimuli both share themes of rebelling against conventions and expectations, alienation and hopelessness, theft and neglect. These themes are all issues that trigger horrible consequences and struggles for people within society. In "You're a Mean One, Mr. Grinch," the Grinch rejects the cheerful spirit of Christmas, feeling isolated from Whoville's festivities and celebrations. His stealing of Christmas gifts and decorations is a disregard to society standards, triggered by feelings of seclusion and emptiness. Similarly, in "Shoplifters of the World Unite," shoplifting represents a rejection of the consumerism and materialism implemented by society. Alienation and hopelessness are common themes in both songs, expressing the difficulties experienced by people who feel detached from society. The Grinch's isolation from the Whos’ of Whoville, as well as his inability to enjoy Christmas, portrays the effects of feeling estranged from one's community. Similarly, the desperation conveyed in "Shoplifters of the World Unite" portrays the hopelessness felt by those who believe they lack the strength to break free from the cycle of poverty or societal expectations. The repercussions of the characters' rebellious behaviours include theft and neglect, demonstrating how society pressures influence individual behaviour. The Grinch's theft of Christmas presents and decorations has terrible effects for him and the citizens of Whoville, eventually leading to his rehabilitation and redemption. Similarly, the act of theft in "Shoplifters of the World Unite" is a desperate attempt to express agency in a world that frequently ignores or disregards the concerns of underprivileged people. Overall, these themes are poignant reminders of the difficulties that people confront when they defy traditional stereotypes and expectations. Both songs provide insights into the intricacies of human behaviour as well as the societal forces that shape individual acts by discussing the consequences and problems related with these issues.

THEMES IN MY STIMULI

Alienation: Estrangement or withdrawal from society or family. This may be a manifestation of a mental disorder or of social or political disaffection. Alienation is when someone isolates or stays away from society or others due to feeling distant, different, unwanted, or rejected. Alienation is the experience of feeling alienated, estranged, or detached from oneself, others, or society. It can take many forms, including emotional, social, and existential alienation. Emotional alienation describes feeling distant from their own feelings, aspirations, or sense of identity. This could be due to conflicts within, trauma, feelings of inadequacy, or a lack of confidence. Social alienation happens when someone feels disconnected from society, they have a sense that they do not belong, or they do not fit in. These issues of lack of comfort within society can stem from any sort of discrimination, exclusion and abuse, whereas existential alienation reveals the struggles of nihilism, feeling like one has no purpose. Overall, alienation is a complex concept and can have extreme effects on one’s mental, emotional and social well-being. When someone feels alienated, they have a range of emotions and thoughts that imply they are detached from themselves, others, or society. They may feel lonely, even in a crowd, or as if they don't belong at all. This might lead to a feeling of emptiness, as if life lacks a deeper purpose or significance. They may also be displeased with themselves, others, or the state of situations in general, which can cause stress and unease. It's as if they're observing themselves from a distance, disconnected from their own emotions or identities. Sometimes they get angered or resentful, blaming others or society for their feelings. The feeling of estrangement causes individuals to think about life's important questions, such as what it all means and where they belong. Feeling alienated can have detrimental effects for people's mental, emotional, and social well-being. It frequently triggers mental health difficulties such as depression or anxiety, leaving people feeling inadequate and alone. Emotionally, they may feel extremely down, unable to find joy or meaning in life. Socially, it can cause individuals to distance themselves from others, resulting in strained relationships and a lack of support. Alienation can have an impact on their physical health as well as their mental health, making them more anxious and susceptible to illness. Some may even begin to engage in dangerous habits or question everything about life.

THEME 1 - ALIENATION

Recognising signs of alienation in others involves paying attention to various behavioural cues, both subtle and overt.One key sign is that they may begin to withdraw from social situations, preferring their own company rather than hanging out with others. This withdrawal may extend to avoiding gatherings or events they once found engaging, revealing a growing sense of disconnection from their social circle. Moreover, attempting to connect with them on a deeper level may seem challenging, as they participate less in conversations and interactions. Expressions of disappointment and displease with various aspects of life, such as work, relationships, or personal fulfilment, may also be seen as important signs indicating feelings of alienation. In addition to social withdrawal, individuals experiencing alienation may reveal signs of isolation from their surroundings, portraying little interest or attention to what happens around them. This disengagement can express a lack of passion or excitement towards activities or events they previously enjoyed. Some people may even avoid group activities completely because they don't feel like they belong or aren't able to connect with their peers. They may also reveal physical signs such as constant fatigue, difficulty sleeping, or a lack of appetite. These physical struggles can be particularly concerning, as they may portray the individual's struggle to cope with their emotional state. Moreover, if individuals begin to question the meaning of life or participate in risky behaviours such as substance abuse or self-harm, it serves as a clear indication of their anxiety and distress. These behaviours may be seen as desperate attempts to cope with overwhelming feelings of isolation and disconnection from their surroundings/environment. Signs of depression may also connect, such as changes in eating or sleep patterns, extreme exhaustion, feelings of worthlessness/inadequacy, and an overwhelming sense of hopelessness. It is important to be present for them with empathy and support, while listening to them, so we can help them feel valued and loved, fostering a sense of belonging and connection. Moreover, difficulties in connecting with others, particularly within family relationships, can intensify feelings of alienation and destroy their confidence in social contact. Therefore, it is important to confront these underlying struggles and provide support to help individuals overcome their feelings of isolation and disconnection.

THEME 1 - ALIENATION

Clinical depression, also known as major depressive disorder (MDD), is a mental health condition that causes a persistently low or depressed mood and a loss of interest in activities that once brought joy. Clinical depression can also affect how you sleep, your appetite and your ability to think clearly. Depression is a low state of mind that lasts for weeks/months or a lifetime and disrupts with our daily life. Depression, as an underlying mental health struggle, is more than just despair; it involves a range of emotions that have a significant impact on a person's life. Depression is identified as an overwhelming feeling of hopelessness, as well as a loss of passion or enjoyment in originally enriching activities. This emotional numbness may affect many aspects of daily life, influencing not only how a person feels, but also how they think and act. Depression's mental signs can include having trouble concentrating, making decisions, and remembering things. Someone with depression may have a persistently gloomy viewpoint on life, seeing themselves, their surroundings, and the future through a distorted perspective of pessimism. These psychological obstacles are typically accompanied by intense feelings of inadequacy or guilt, which, while unjustified, have a major effect on self-esteem and self-image. Furthermore, depression frequently has a detrimental effect on physical health, causing a variety of struggles that can increase the emotional burden. Changes in appetite or weight are common, ranging from significant alterations to a complete lack of appetite for meals. Sleep problems, such as insomnia or hypersomnia, disrupt the regular sleep-wake cycle, leaving people exhausted and drained of energy. Perhaps the most disturbing struggles of depression are suicidal thoughts that affect not only the depressed but also the people in the social life. These intrusive thoughts may come from a deep-seated concept that life will never get better or that one is an unnecessary strain on others. Such ideas emphasise the need of receiving qualified support and assistance from loved ones. Depression, if left untreated, can have serious and lasting consequences, limiting everyday functioning, disruptive relationships, and affecting overall quality of life. Individuals can, however, successfully deal with their symptoms and move towards recovery if they seek the right medical care and support. Therapy, medication, changes in habits and support groups are essential stages towards healing and regaining a sense of hope and purpose. Depression can often be caused by an accumulation of several elements and reasons. There are several reasons why someone may experience depression, and there is no clear or straightforward answer. Usually, it is a combination of multiple factors. Some people have a hereditary susceptibility to depression. It is more likely that a combination of genetics each have a slight impact on a person and combine to influence their general state of mind. A traumatic experience, such as a violent encounter, abuse, or a damaging childhood experience, might also be an influence. Additionally, life occurrences such as an unexpected bereavement, loss of income, or an alteration in circumstances can lead to depression. People who experienced harassment or are mistreated, such as through sexism or racial prejudice, or who find themselves lonely or have low self-esteem, are more likely to suffer from depression. Some medical reasons of depression include negative effects from drugs or substance abuse. Alcohol and drug use raises the risk of depression, particularly when people try to treat themselves or 'drown their sorrows'. Long-term chronic illnesses, such as cancer or heart disease, along with serious head injuries, thyroid disorders, and even pregnancy, are all possible contributing causes.

THEME 2 - DEPRESSION

Neglect is a situation in which you do not give enough care or attention to someone or something, or the state of not receiving enough care or attention.Neglect is a complex issue that includes various kinds of situations in which someone is not given the care and aid they need to succeed. Negligence in homes can take several forms, including parents not providing sufficient food, clothing, or shelter for their children, as well as neglecting their emotional needs by not providing them with love, encouragement, or advice. Neglect can take place anywhere, for example institutions, when vulnerable individuals, such as the elderly or those with disabilities, do not receive sufficient medical attention, social engagement, or support with everyday duties. Physical neglect can result in famine, illness, or trauma, all of which can have long-term effects on a person's health. Emotional neglect can be equally harmful, causing feelings of isolation, inadequacy and confusion. People aren't given the opportunity to learn and develop important skills, which interferes with both their professional and personal growth. Similarly, medical negligence can jeopardise one's physical health by delaying or dismissing critical medical care. Children that are neglected may struggle with bonding issues, problems with development, and a lack of emotional stability. Dealing with neglect demands figuring out and tackling the fundamental causes of neglect, giving help and support to those affected, and holding those at fault for not giving sufficient attention. It also requires the participation of many of those involved, including families, communities, social service organisations, and politicians, to express environments that prioritises the well-being and safety of all individuals. Eliminating neglect requires collaboration in order to raise awareness, empathy, and action, ensuring that each individual receives the care and assistance they require, even if anxiety appears as a greater awareness or avoidance of intimacy, preventing the growth of relationships that are significant. Neglect can have a profound impact on one's emotional and psychological well-being, leaving long-term scars that affect many aspects of life. Neglect can cause an overwhelming feeling of alienation and loneliness, as well as emotions of unworthiness and insignificance. This emotional hole can be deeply disturbing, leaving people feeling empty and inadequate. It's as if there's a pain in the soul that not even a bit of external approval can heal them. The lack of nurture and support can destroy confidence and self-image, leaving people feeling as if they do not deserve love or pleasure. Furthermore, a lack of affirmation and stability might cause a deep fear of weakness and trust. Trust becomes an increasingly valuable quality as people struggle to believe that others will not disappoint them in the same way that those who have before failed them have. Neglect has profound effects, affecting a person's perspective and belief in themselves. Negative ideas about one's own worth and others can become deeply expressed, sustaining an endless cycle of self-destructive behaviour and unhealthy methods of coping. Breaking free from this cycle needs great courage and support as people deal with their suffering and learn how to recover from their damaged sense of self-worth.

THEME 3 - NEGLECT

Hopelessness is an expression of despair or feelings absent of promise. It is an intense feeling of negativity and helplessness in which people believe their place in life cannot be developed or that they've got little influence over their circumstances. People who are hopeless may feel entrapped in their current situation, with no possibility of things improving. This feeling might be overwhelming, leaving them feeling powerless or useless. Long-term strain, trauma or grief, chronic diseases or disabilities, a lack of employment, loneliness, pessimism patterns, emotional or mental disorders, a lack of coping skills, a sense of loss of control, and negative life experiences can all contribute to feelings of hopelessness. Constant stressful situations, catastrophic events, or major losses may affect one's sense of faith for the future, while long-term conditions, disabilities, or employment dissatisfaction all add to a sense of feeling entrapped in unpleasant circumstances. Social isolation, a lack of support, negative thought patterns, and mental health conditions such as depression or anxiety can all worsen emotions of hopelessness. Poor resilience or an overwhelming sense of lack of control over life as a whole can also exacerbate emotions of despair, especially when combined with repeated losses or negative outcomes. These elements can interact and strengthen each other, intensifying feelings of pessimism and making it difficult for people to imagine a better future. Hopelessness can cause a wide range of uncomfortable feelings and physical experiences. Individuals may suffer profound feelings of despair, powerlessness, and lack of worth. They may be overcome by a sense of hopelessness and abandonment, convinced that everything is hopeless and there is no way out. Emotionally, hopelessness can cause deep grief, emptiness, and laziness. Individuals may struggle to find joy or significance in their life, and they may lose passion in the hobbies they once enjoyed. Physical signs of hopelessness include fatigue, weakness, and difficulties focusing. Sleep difficulties, changes in appetite, and physical discomfort are all typical. Hopelessness can have a tremendous impact on many elements of one's life. Mentally, it can lead to the development or irritation of conditions such as depression and anxiety, enhancing the risk of suicidal ideation or behaviour. Emotionally, it causes feelings of despair, emptiness, and alienation from life, limiting the ability to feel happiness or ambition. Interpersonally, it stresses relationships, potentially leading to social withdrawal or conflict. It prevents ability to concentrate and perform in educational or professional contexts, putting one's career or academic success at risk. Seeking help and developing coping mechanisms are critical for overcoming hopelessness and gaining a renewed sense of optimism. Supporting someone in this situation requires a comprehensive strategy that considers their mental, emotional, and social requirements. Therapy, including cognitive behavioural and dialectical behaviour therapy, provides techniques for challenging negative ideas and building resilience. Medication may also be provided to treat depression or anxiety symptoms, while support organisations and self-care routines can provide additional help and motivation.

THEME 4 - LACK OF HOPE/HOPELESSNESS

Theft is defined as unlawful stealing of something belonging to someone else with the purpose to permanently deprive them of it. It encompasses dishonesty and a lack of consent from the person who owns it. Theft can take many forms, including stealing physical goods, money, intellectual property, or even emotional theft. Emotional theft, also known as psychological manipulation or emotional abuse, is referred to behaviours or actions that exploit someone's feelings for personal benefit or power. This can include manipulating someone's emotions, gaslighting, guilt-tripping, or dismissing their emotions to influence their behaviour or damage their sense of self-worth. Emotional theft can have serious and long-term consequences for the victim's mental and emotional health, causing disorientation, low self-esteem, anxiety, and depression. It can occur in a variety of situations, including romantic connections, friendships, family dynamics, and professional settings, and it can be perpetrated by somebody the victim knows personally or trusts. Recognising and treating emotional theft is critical to protecting solid boundaries and establishing respectful, strong connections. Psychological manipulation may result from a variety of underlying reasons. These include the need for power and authority in relationships, individual weaknesses or worries, past trauma or abuse experiences, obtained behaviours from upbringing or observation, a lack of empathy, a need for validation, and difficulties in communicating. Individuals may use emotional manipulation to take control, overcome insecurities, or seek affirmation from others. Theft is a criminal offence that is punished by law. The causes of stealing can be diverse and complex, frequently driven by a combination of personal circumstances and intentions. Economic difficulty or financial strain may motivate people to steal to meet their basic requirements, whilst substance misuse can impair judgement and lead to unlawful behaviour. Psychological factors such as impulsivity disorders, as well as societal effects like peer pressure, can all contribute to theft. A lack of moral growth or opportunity for theft, as well as desperation, greed, or prior criminal experience can also be a cause. Stealing causes lots of harm, affecting both them and their social surroundings. It causes financial loss, mental pain, and a breakdown of trust between individuals and society. Victims feel violated and vulnerable, while criminals suffer legal punishment and reputational damage. The disruption produced by theft goes beyond personal lives and affects businesses, communities, and cultural ideals. To prevent theft, it is necessary to address underlying causes such as poverty and substance misuse, as well as encourage ethical behaviour and establish respect and accountability in society.

THEME 5 - THEFT

A sound designer is responsible for creating and integrating audio components for a variety of media platforms, including films, television shows, video games, and theatrical performances. Their main task is to create and modify sound effects, conversation, music, and ambient noises to enhance the audio experience and create specific emotions or atmospheres. This requires working closely with directors, producers, and other members of the creative team to properly understand the project's objectives and requirements. Sound designers use a combination of recorded sounds, keyboards, digital audio software, and specialised equipment to create desired effects that complement the production's visual components. A sound designer's role includes designing and refining sound effects that bring scenes to life and generate emotions or moods. This may mean finding existing sound libraries or creating fresh sounds customised to each project's specific needs. For tiny details like the rustle of leaves or huge explosions, sound designers carefully develop each effect to ensure authenticity and intensity. In addition to sound effects, conversation editing is a key task. Sound designers are responsible for enhancing dialogue recordings by removing undesired background noise or defects while maintaining clarity and intelligibility. They synchronise speech with on-screen lip movements and facilitate seamless transitions between different views or angles, ensuring narrative consistency. Furthermore, sound designers frequently contribute to the musical side of a production by creating original music or selecting pre-existing tracks that match the visuals and improve the overall ambiance. They work together with composers, musicians, and music supervisors to create cohesive sound landscapes that maintain the narrative arc while triggering the intended emotional reaction from the audience. After producing or gathering all audio parts, sound designers use their technical skills to mix and master the audio tracks. To achieve depth and immersion, levels must be adjusted, sound elements balanced and effects applied. By expertly controlling volume, frequency, and spatial location, sound designers ensure that each sound contributes seamlessly to the overall audio experience. Throughout the production process, they actively participate in production meetings, providing insights into sound-related decisions and refining their work in response to peer comments. A sound designer's ultimate purpose is to seamlessly incorporate audio aspects into the finished film, enriching storytelling, creating emotion, and immersing listeners in the narrative universe.

SOUND DESIGNER - RESEARCH

Sound Design Principles: Understanding the fundamentals of sound design, such as sound theory, acoustics, and psychoacoustics, is essential. This understanding enables sound designers to create immersive sound experiences that appeal to audiences. Audio Production Skills: Experience in recording sounds, editing, and mixing is essential. To properly alter sound elements, sound designers must be familiar with digital audio work stations (DAWs) and various editing tools. Music Composition and Arrangement: Sound designers frequently collaborate with composers to create new music or arrange previously recorded pieces. Knowledge of music theory, composing techniques, and digital music creation is useful. Communication and Collaboration: Effective communication skills are required while working with directors, producers, composers, and other members of the production team. Sound designers must be able to explain their ideas, listen to feedback, and work together effectively to achieve the intended artistic vision. Creativity and Innovation: Sound design is centred on creativity, which entails understanding and operating unique audio solutions to improve narratives and evoke emotions. Sound designers should be constantly exploring new approaches, experimenting with sound, and pushing the limits of audio creation. Attention to Detail: Precision and attention to detail are essential in sound design, as even minor differences can have a big impact on the entire sound ambiance. Sound designers must carefully edit, mix, and master audio tracks to achieve seamless connection and sound consistency. Adaptability and Problem-Solving: Sound designers frequently face obstacles and limits during the manufacturing process. The ability to adapt to changing circumstances, think creatively, and problem solve successfully is critical for overcoming challenges and producing outstanding results.

SOUND DESIGNER - RESEARCH

80's music for parties in the upper, middle class

SOUND - RESEARCH

80's tension music for physical theatre

80's radio music

SOUND - RESEARCH

SECTION 2: THE PROCESS AND ASSIGNED ROLE

DEVELOPMENT OF PERFORMANCE & CHARACTER, MY ROLE, IDEAS AND MORE...

Pages 4-7

WEEK ONE LOGS

DAILY LOG 1:

Tuesday 9th Jan:Today we began with an ensemble warm up. We then, in small groups, began creating letters, objects and words with our bodies. At first this was a little challenging as we only had a limited amount of time to do this. At the same time of thinking of ways to do this, we had to use our imagination to create a unique shape. By moving from letters to objects to words, it became more difficult as we had to think about how flexible we were in the space of our limited time, pushing us to think faster while being creative. This helped me work on my creative skills and pushed me to think outside of the box as quickly as possible to earn points. This warm-up ensured that I was focused and prepared for any challenge that came my way. This helped me work on staying on my feet all the time, which is useful in the industry, when acting, as it allows me to stay prepared for anything, including stepping in for a performer or being prepared to do hours of performance for recording. We were then given events that we had to show through our bodies in a freeze frame. This had to be done in the limited time we were given, which was really challenging as we had to think on the spot about how we were going to use our physicality in the moment to show this. This is useful for devising as it helped me work on our improvisation skills. This also allowed me to work on my communication skills with my group, as we needed to talk to one another to complete the freeze frames quickly. Furthermore, we were given scenarios and were told to devise a quick piece within 10 minutes. Within this time, we had to think about our audience, given circumstances and the scenario. This task forced us to think fast and produce a simple storyboard so that we could create the piece. Using our improvisation skills, we were able to produce our lines. This exercise prepared us for the upcoming units with devising and my group stimulus of “The Smiths.” This helped us ensure that we worked on our main skills needed for thew devising units. This was a good start, as I really enjoy the unit of devising, however it was a little challenging as we did not always agree with each other's ideas and we were under pressure due to limited time, making it challenging to create our piece. I also found it a little hard to give up control and allow my peers to think outside of the box and use their imagination to come up with ideas for the piece. After performing these pieces to the rest of our class, we then discussed all together how these tasks relate to our new units. We discussed the different skills and techniques such as teamwork, communication, improvisation, and creativity that would help us along the process of devising units. I think that this unit will be a little challenging for as I struggle to give up control and push others to do more work, however, I will try my best to push my peers to do their parts of the unit. After this, we then worked on a technique called “viewpoint” created by Ann Beauregard. This technique pushed me to use my imagination more and think outside of the box. This was a little challenging for me as I had to push myself outside of my comfort zone to use my creativity and imagination. By adding the music to it later, I felt more at ease and less uncomfortable as I was able to use the music to inspire my movements.

WEEK TWO LOGS

Monday 15th JanToday we began by looking through our stimulus and trying to identify the main themes in our stimulus. I understood there to be themes of theft, alienation, lack of care, friendship, and neglect. We then decided that these were the main themes we were going to focus on for our devised piece. After this we began by writing up a storyboard giving us a first idea for our performance. At first, this was a little challenging as we had no idea what kind of storyline we wanted, and we did not have everyone in, so that we were all able to give an idea for the first draft. However, one of my peers had previously had an idea of a friendship group, which helped us with a first idea for our performance. After thinking of our storyboard and typing it up, we began to improvise a first scene so that we had a rough script to type up as a first draft. This also helped us create a character for our starting point, which we could later develop with a background, revealed through our body language and actions. I found this a little challenging as I have not started my research on the period of my stimulus so I was not sure what background my character should have. However, I still used my skills to have a rough idea of my character that I could later expand on. We then performed this to the class, at first it had a comedic twist to it, which made me feel less pressured. This idea of a comedic twist was something our group wanted to keep for our final script as it would help engage our young audience in our performance, so as a group we made the decision to add a little comedy to it. We also loved the idea of the opening scene beginning with establishing a friendship group. This would create a sense of mystery in our performance. I also found it challenging to improvise lines as I had no knowledge of the phrases and words, they used in the 80’s. Improvisation is also a performance skill I struggle with partly due to my lack of confidence. Our group didn’t know much about our stimulus, so we didn’t know what props we were able to use or what our actions would be, making it difficult to create an idea of a first scene. After this, we then decided, as a team, that we would begin to expand our knowledge by beginning our research on our stimulus and use our understanding to begin to push our creativity and imagination skills, forcing ourselves to think outside of the box in order to have ideas for our scenes. We also decided between ourselves who wanted what production role. I chose to take the role of a sound designer. I chose this role as it is outside of my comfort zone, helping me boost my confidence in a role I have no knowledge of, giving myself another challenge for this new unit. I though it would be best to choose one that would push me to be open minded and creative, especially because I think it will help me boost my confidence a lot more.

DAILY LOG 2:

Friday 19th Jan Today we began with a warm-up that I led to release any tension in our bodies and to prepare ourselves for the upcoming task of creating a movement piece to add into our play as one of the unit rules. This warm-up helped me stretch enough to prepare my muscles. By leading this warm-up, I pushed myself outside of my comfort zone, which was preparing me for this unit as there are many challenges with the process of devising. This stretch helped me improve my flexibility, which is helpful in the dance industry as it means I can have a wide range of skills when creating and performing choreographies. This warm-up was my starting point to engage comfortably in all activities, preparing me for this devising unit. I felt a little challenged by this as it is something I am not used to doing and I have little confidence when leading or performing, especially with people I am not used to working with. However, by pushing myself to do this, I will be able to gain a sense of confidence, a skill that I will need in the industry. This will also help me work on my leadership skills, and by working with people I am not used to, it will prepare me for my career as I will be constantly working with people I do not know, and I will have to be open-minded and flexible. As most of my group was absent today and only two of us were in, we decided to discuss our ideas for our play and began thinking about the script. Due to not having many people in for us to brainstorm our ideas together and figure out what we wanted our scenes to consist of, me and my peer practiced basic dance/physical theatre movements. This helped us broaden our ideas for our movement pieces, expanding our creativity for this unit. Not having many people from our group in made it a challenge to begin creating a performance, as not everyone was in to contribute or give ideas and it would be unfair if they didn't get an opportunity to express their ideas. As a group we wanted to be fair to each other, and take into consideration everyone's opinions as much as possible.

DAILY LOG 3:

SECTION 3: QUESTIONNAIRE AND BIBLIOGRAPHY

BIBLIOGRAPHY, CHARACTER QUESTIONAIRE AND MORE...

Pages 4-7

https://americansongwriter.com/behind-the-song-lyrics-youre-a-mean-one-mr-grinch-dr-seuss/

https://songmeanings.com/songs/view/35113/

https://genius.com/The-smiths-shoplifters-of-the-world-unite-lyrics

https://www.songtell.com/the-smiths/these-things-take-time?skipCountdown=true

https://www.childdrama.com/appropriate3.html

https://www.whatsonstage.com/news/5-things-you-need-to-make-the-perfect-theatre-show-for-kids_43346/

https://d2wasljt46n4no.cloudfront.net/pdf/content-pages/community-pages/Pinocchio%20Poster.pdf

https://solchildren.org/what-is-the-meaning-of-childrens-theater/

https://study.com/learn/lesson/theater-audience-role-rules-participation.html#:~:text

https://dictionary.cambridge.org/dictionary/english/audience

https://www.tandfonline.com/doi/full/10.1080/13619462.2017.1306214

http://news.bbc.co.uk/1/hi/magazine/6745801.stm

https://www.sweetandnostalgic.co.uk/blogs/what-was-life-like-in-1980s-britain

https://uk1980s.co.uk/category/history/

https://anglotopia.net/british-history/brit-history-ten-most-important-events-in-british-history-of-the-1980s/

https://natcen.ac.uk/publications/british-social-attitudes-30

https://workingclassstudies.wordpress.com/2013/04/23/thatcher-and-the-working-class-why-history-matters/

https://www.theguardian.com/books/2009/apr/19/1980s-cultural-history

https://localhistories.org/life-in-the-1980s/#:~:text=There%20were%20two%20sides%20to,fell%20to%205.6%25%20in%201990.

https://www.theguardian.com/music/2023/jun/01/a-light-that-never-goes-out-why-the-smiths-are-eternally-influential

https://pitchfork.com/artists/4065-the-smiths/

https://www.allmusic.com/artist/the-smiths-mn0000899530

https://www.last.fm/music/The+Smiths

https://www.britannica.com/topic/the-Smiths

https://mcstor.library.milligan.edu/bitstream/handle/11558/58/DeLong_Derrick_Mixon_Shell_2015.pdf?sequence=1&isAllowed=y#:~:text=Some%20people%20look%20to%20Etienne,as%20we%20know%20it%20today.

https://www.wikiwand.com/en/Devised_theatre

https://www.thepaperbirds.com/whoweare/#:~:text=The%20Paper%20Birds%20is%20a,%2C%20investigators%2C%20entrepreneurs%2C%20educators.

https://taylorsbloog.wordpress.com/2019/02/25/the-history-and-development-of-devised-theatre/

BIBLIOGRAPHY

https://centraljersey.com/2021/04/06/the-80s-teen/

https://www.reddit.com/r/80s/comments/xh783k/what_was_it_like_being_a_teenager_in_the_early_80s/

https://actuallymummy.co.uk/things-youll-recognise-if-you-were-an-80s-teenager/

https://www.markercontent.com/articles/lifestyle/growing-up-in-the-80s-vs-modern-days-the-differences-in-teenagers-lives-271589

https://onlinelibrary.wiley.com/doi/full/10.1111/hojo.12158

https://www.parliament.uk/business/publications/research/olympic-britain/crime-and-defence/crimes-of-the-century/

https://www.classiclineinsurance.co.uk/late-1970s-and-1980s-classics-are-most-at-risk-from-thieves/

https://www.ool.co.uk/blog/how-have-attitudes-to-education-changed-over-the-last-30-years/

https://sesc.hist.cam.ac.uk/school-cinema/1980s/

https://www.quora.com/What-was-British-education-like-during-the-80s

https://www.bbc.co.uk/news/education-30128472

https://www.dailymail.co.uk/femail/article-2767712/A-

https://www.independent.co.uk/news/business/the-class-industry-private-schools-flourished-in-the-1980s

https://www.babbel.com/en/magazine/1980s-slang

https://en.amazingtalker.com/blog/en/english/68283/

https://www.yourdictionary.com/articles/1980s-slang

https://www.collinsdictionary.com/dictionary/english/neglect

https://www.merriam-webster.com/dictionary/neglect

https://www.nspcc.org.uk/what-is-child-abuse/types-of-abuse/neglect/

https://dictionary.cambridge.org/dictionary/english/neglect#google_vignette

https://www.healthline.com/health/clinical-depression

https://www.nhs.uk/mental-health/conditions/depression-in-adults/treatment/

https://www.hopkinsmedicine.org/health/conditions-and-diseases/major-depression

https://my.clevelandclinic.org/health/diseases/24481-clinical-depression-major-depressive-disorder

https://www.ncbi.nlm.nih.gov/books/NBK559078/

https://www.mayoclinic.org/diseases-conditions/depression/symptoms-causes/syc-20356007

https://www.nhs.uk/mental-health/conditions/depression-in-adults/symptoms/

https://cks.nice.org.uk/topics/depression/diagnosis/diagnosis/

https://www.mqmentalhealth.org/conditions/depression/?gad_source=1&gclid=CjwKCAiA8sauBhB3EiwAruTRJhmOEOAdblSEUDRbyY9_WmO2cHA8eWvsILXGDLb-HyeXhB-8kjfZyhoCs9wQAvD_BwE

https://www.healthline.com/health/alienation#complications

https://www.britannica.com/topic/alienation-society

https://www.theatlantic.com/entertainment/archive/2015/12/youre-a-mean-one-mr-grinch-an-ode-to-a-lovable-curmudgeon/420309/

https://www.songmeaningsandfacts.com/youre-a-mean-one-mr-grinch/

https://www.songtell.com/tyler-the-creator/you-re-a-mean-one-mr-grinch

BIBLIOGRAPHY

By: Lucy Pinho Kadlec - 862345

Thank you!!