In the process of the ‘Art and Life’ rehearsals and in the two performances that we did, as a whole group of year one students, there was a supportive feel to the group. An example of this is when I helped Brayden and Sophie at the start of the project, as they were given ‘Equus’ as a piece and it was one of my suggestions, so I was able to briefly explain what I had imagined when suggesting the play and gave them a potential scene choice. On top of this, the year one group has been good at providing feedback throughout the process, on what they liked in the pieces and also elements that we could work on and find ways to improve. It was very useful having the other performing students opinions on my pieces as it gave us new ideas to work with that we may not previously have considered. This made our performances stronger, as we had more ideas to experiment with, to find which ones worked the best for our piece and the style we were using. By having everybody supporting and helping each others pieces, it made the show feel like one whole collaborative project, rather than individual acts that came on one after the other, which the rest of the groups had no investment in. This is how it felt in ‘Inspired by Film’ which was our last commission, so it was good that this time there was a completely different feeling towards the shows. We all saw each others pieces early on, and even in the tech run we were able to watch the other groups perform, which allowed us to see the show as one whole performance. I believe that this had a great effect on the final performances and the way people treated the shows as there was a strong company feel and because of the investment everyone had in the show as a whole, everybody did their part in encouraging each other to do their best performance possible in the shows and to take it seriously. It also may have been why the whole group tried to do the performances in the most professional way possible, as we all wanted the show as a whole to be successful and of good quality because we all felt a responsibility to do so.
On top of working well as a group of performers, I also had a good working relationship with the production students, who were a huge part of our performances as well and contributed to the success of our pieces. I made sure to give them a copy of both scripts of the pieces I was in on time. I also tried to maintain regular communication with them, so I was aware of what the staging would be and could ask them whether certain props would be possible for this show. They also helped me to convert a recording I had as a sound effect for ‘No Exit’ into an MP3, which I would have struggled to do without them. The positive relationship we had, meant that my groups were well informed of the production elements of ‘Art and Life’, so it wasn’t a shock to us in the tech run, that there was a steel deck platform on stage and the fact that there would be multiple groups on stage at once, but wouldn’t they be lit until their piece was to perform. This helped my group and I to be prepared for our tech run, dress run and how the show would run in the performances. They were also more willing to help me because of the regular communication we had, which resulted in us having the sound clips that we wanted for our pieces.
As for my specific groups that I worked with in this project, our group for ‘Alice’ worked well together, as we were all very dedicated to it. From the day we got our piece, we made sure to attend regular and consistent rehearsals, so that we could achieve the best final piece possible. One of our strengths as a group was our communication, which is something I identified in Task 1 as being vital to the success of this project. We made sure that we communicated effectively with each other, inside and outside of college, so we were always able to share ideas, or ask for opinions of the other members in the group. This meant that no matter what time it was, we were always able to suggest a new idea, or to share some research that we had found with each other. We did this though group discussions, meeting and through social media. This helped the whole group to get their opinions heard and because of this fair approach, we believe that it resulted in a more harmonious group, as everyone’s ideas were being heard. Therefore everyone had a positive attitude towards the piece and could be the reason why we all put so much effort into making the final pieces a success. As well as giving everyone a chance to suggest ideas, we also made sure to try them. We decided early on that we should try not to dismiss any ideas early on and try to experiment with lots of different possibilities. This proved an effective method at finding more creative and inventive ways of playing with the tea party scene. As it is ment to be mad, we had a lot of freedom for what we could do with the eccentric characters and circumstances. Therefore by experimenting with large and over the top movements and character voices, it allowed us to find some good options for our characterisation and staging that may not have been how we originally thought we would approach the scene. One of our notes that we got a lot from the final two performances, was that as a group we were stong on characterisation and the interactions between those characters, this is how I think we achieved this. The group also was successful in working well together, due to the commitment we all had. As Liam, Will and I are all acting year one students, we have been working together all year and share lessons together. We all know each other well enough to know that we want to do well and so made a conscious effort and a decision early on, to commit fully to this project. We knew that we could work well together, as we have been in pieces together before and so we just needed to make sure that we put the work in. We therefore put a lot of time into rehearsing and improving the piece. The commitment and dedication ment that we had spent time working on all the different aspects of our piece by the time the performances came, and we were confident that we had put the work in, so were not nervous when we performed it in the shows, which again may have been a reason why the piece was successful as we were confident. Just as the year one group as a whole had a sense of team work, so did the ‘Alice’ piece. We effectively worked in a way which meant that we all helped one another, which helped create a sense of team work. Liam and I helped Will to create a distinctive voice for ‘The Dormouse’, Will and I did some work with Liam on how he could move and speak as ‘The Hatter’ and they both helped me to grasp the Sheffield accent which I used for ‘Alice’. This meant that we knew we could ask the other members of the group for help if we ever needed it, which meant that we could use all of our individual skills and strengths to help the other two. This meant that we helped the group as a whole, in making the piece a high standard.
For ‘No Exit’, I don’t think the group worked as effectively as the group I was in for ‘Alice’. The first reason why I believe this to be true, is that for a lot of the process, I was left to do a lot of the work and had to make most of the decisions myself. This wasn’t because I hadn’t given the other two members a chance to contribute but more that both of them didn’t seem to have much interest in the piece we were working on, so may be why they lacked enthusiasm for the piece. Even though this shouldn’t matter and we should still work hard to create the best piece of theatre we can, regardless of our feelings towards the script, it meant that sometimes Jamie would choose to rehearse her other piece, instead on ‘No Exit’, despite us scheduling a rehearsal for it. Even though the piece was a more serious piece of theatre, I still wanted to do it well. Therefore when the work wasn’t being done, I would ask who should do what and found that the way that it would get done, is if I took charge and did it myself. Due to this, I was the one to write out our section of the play, which was complicated as it involved taking lines from different sections of the play, so that the piece would make sense as a stand alone performance. I also took charge in recording Chris for the voice over. Although this meant that we didn’t feel as much of a team, than the ‘Alice’ piece, it did get the work done, which it may not have done other wise. The group also wasn’t the most reliable despite my best efforts. I set us all deadlines so that it could give the group motivation to achieve certain objectives by certain dates, however I found that I was the only one who stuck to these. For example I had learnt my lines by the date which we all agreed upon, yet Jamie and Liam were still on script at this time. If I were to do this project again, I would have gotten Jamie and Liam to be more involved in the planning process, so that they felt more of a responsibility to achieve the goals we set for the group. There was also an element of unreliability with Jamie, as she told us on countless occasions that she wouldn’t be able to make a rehearsal, on the day of the rehearsal. This was difficult as we would have to find time in our busy schedule for the commission to catch up on the rehearsals that we missed. I think this had a negative effect of the finished show, as our piece didn’t have as much depth as it would if we had more time to work on it. The characters felt lacking and unclear with Jamie and Liam. Next time I would definitely make sure that we spent some time developing characters early on, as it felt as though I was the only one who had considered my characterisation and given her a clear stereotype which she was based upon. Something we could have done as a group was Uta Hagen’s questions for acting, as I know it helped me and it could have been useful for them to do, if they hadn’t already. Over all our group wasn’t as effective during the rehearsal process which made it difficult, however we still were able to perform the piece and in our last commission ‘Inspired by Film’ our ‘Titanic’ movement piece had to be cut because we were unprepared, so I am glad that I was able to use my initiative to get some of the work done, in order for the piece to go ahead.
Something that I think was very effective, was the planning and organisation that I had for this commission. Both of my groups allowed me to be the person to take charge in creating the rehearsal schedule, which is something that has previously been successful in keeping me organised in other commissions. I used the methods that have worked for me previously, which is to work out how much time we have in the process, how many usable lessons this equates into, working out which days are more suitable to rehearse certain pieces and then to create a schedule from this. I made sure to do this as early on in the process as possible, as I know how useful it can be to have a guide line of something to follow and aim to achieve. I think this resulted in us getting more work done, and in us being more prepared in the final performances, as we had organised our time from early on in the process. Also in ‘Inspired by Film’ some groups struggled to meet up if they had member of their groups in multiple pathways. However because of my schedule, my group didn’t find this an issue, even though I was an acting student and Sophia and Ryan were in musical theatre. This is because I had worked out early on, when we shared time that we could rehearse. I did this again for this project as Jamie is in musical theatre and Liam and I are in acting. I then created a plan from this, which we successfully followed for the majority of the time, especially for ‘Alice’ and a little less so for ‘No Exit’ as I previously mentioned. This still had a positive effect on the final shows, as we had followed the rehearsal plan enough so that our pieces were ready to perform and had enough rehearsals to feel confident in our work. I was also good at updating and re scheduling the plan, as there were times where things prevented the rehearsals from taking place, such as members of the group being ill, or there being a college audition day which meant we didn’t need to be in college. There were also some cases where we were not able to achieve one of our deadlines, such as a costume run off book straight after the Easter holidays. We realised this wasn’t achievable in such a short amount of time. I therefore had to make some of our original deadlines a little later on, so that they would be more realistic and achievable. This has helped me to learn a more realistic time frame to achieve certain element of a performance, such as how long it will take a group to learn all of their lines, which I will be able to apply to commissions next year and give a more appropriate amount of time for in the schedule. Being adaptable with our schedule and keeping it updated, did have a positive effect on the performances, as we could see what needed more work and then we could focus on achieving that instead. This resulted in us solving more problems that we faced during the commission, that we may not have expected to need to sort out, when we first began the project. Something I think that I could have improved on, regarding the schedule, is the planning of production elements. I knew from making a robot in ‘Inspired by Film’ and animal masks in our storytelling street theatre commission, that painting and the making of props can take a large amount of time. I think that although I knew this, I could have allocated more time to it in this commission, as some of the props such as ‘The Hare’s’ ears in ‘Alice’ and the signposts, were still done a bit last-minute, and we could have avoided the stress of this by allocating more time to prop making throughout the process. That way we would be sure to have everything we needed on time. I will therefore, put more prop making time into the next schedules I make for our future commissions.
Something that my groups did effectively, was solving problems that we faced though out the rehearsal process. As well as rescheduling and adapting rehearsals due to illness, we also had a problem with the section of ‘No Exit’ that we had initially chosen. This is because we had originally chosen a section near the start of the play, which we soon discovered left some of the people in the group with significantly less to say than others. Also in our read through, we realised that it was a little complicated to understand from an audiences perspective, as it needed context from earlier in the play, to make sense on its own. Therefore, to solve this problem, we agreed as a group that we should re write the section, by combining lines in the play so that it made sense and would work as a stand alone piece. We wanted to be able to get across ‘Sartre’s’ message that ‘Hell is other people’, as we felt that this fitted in with the ideologies in Renaissance art, which was the art movement that the piece fell into and we wanted there to be an obvious link. Therefore by chosing the lines we included and writing our own section made from the lines in the play, it gave us the freedom to control the amount that people got to say, and also the content of it. This allowed for the short piece to still sum up the plays message and to make sense without needing more information. It did take much more time than if we had stuck to our original section of the play, but we thought this would work better, as the audience may not know the play and so we didn’t want our section to be context bound. From the comments and response that ‘No Exit’ had after the performances, this decision and solution to our problem was successful as people told us that they understood the piece with ease.
Another example of my groups being effective problem solvers, is that in both pieces we were doing plays that had four characters but we only had three actors. We solved this problem in two different ways for the two different pieces. For ‘Alice’ we discussed various solutions to this problem, such as splitting ‘The Dormouse’ lines between Will and Liam, which we tried but it didn’t make sense with the script for ‘The Hatter’ and ‘The Hare’ to say them. However whilst we went though our options, our tutor Lynn suggested the possibility of having ‘The Hare’ operate a toy or puppet mouse, who he uses a different voice for. We thought this would work really well as the character is meant to be mad and this almost creates the idea of a split personality with this fake mouse, which would add to ‘The Hare’s’ madness and also the overall style of the piece, which is meant to be strange and quirky in itself and is the link it has to the Surrealism artwork. We think this translated to the audience in the final performances and it resulted in our piece having more humour, as the audience found the consept very funny, perhaps due to it adding to the maddness and strangeness of the play and the characters, which is positive, as the play is meant to be comedic and light hearted to watch and this added to it. For ‘No Exit’ we approached the problem in a different way, as the play is much more naturalistic and so a puppet would have been out of place. We then discussed the possibility of recording ‘The Valet’s’ lines, as it would give our piece a distinctive start if we opened the piece with a pre recorded mysterious voice. It also meant that our final shows had a tension which was created with the recorded voice and that helped to create the atmosphere we wanted for ‘No Exit’. I think that although both solutions were very different, they worked for the two different pieces, and fitted better with the different styles and art movements that our pieces were in, as ‘No Exit’ is more naturalistic and human culture based, as it is in the Renaissance movement and ‘Alice’ is more eccentric as it is in the Surrealism art movement, so the problem needed to be approached in a different way, which we did.
As for problem solving regarding the production elements, we went about it in a similar way to how we did with the performance related problems. We would have group discussions, which were often successful as it allowed us to talk about the options available to us. One production problem we faced was the signs that we made for ‘Alice’. We made the signs in enough time for the performances but before the tech run we realised that we didn’t have a way to prop them up. Therefore we had a group discussion and realised that we would need to find something that would work in Tweed, which is where the college keep the majority of their props. This probably wasn’t the best solution to our problem, as there is a limited amount of things in Tweed and we were lucky to find something that worked. In future I would like to try to think of all the production problems that we may need to solve early on, so that we have more time to find a better solution, that fits the style of our piece better, as the silver stands which we ended up using, clashed with the pink and blue colours on the signs. It also caused a last-minute panic as we solved the problem so close to the performances, which could have been avoided if we had considered the potential issues of the signs early on. The signs then caused another issue, as they could be seen whilst Jess did her monologue after ‘Alice’. Therefore the decision was made, that they wouldn’t be used in the second night show, as they looked out of place for Jess’s Shakespearean speech.
The research that I did for ‘Art and Life’ had a massive impact on the final performances and influenced a lot of vital decisions that were made on our pieces. Firstly I belive that my character research was highly effective as it allowed me to better understand both ‘Estelle’ and ‘Alice’, who were the characters I played. Methods such as using Uta Hagen’s questions for acting were particularly useful, as it helped me to understand my characters, finding out how my characters would act in certain situation and also how they felt and would interact with other characters in the piece. This meant that my characterisation, movement, voice and facial expressions were much more informed choices that I made, as they had reasoning behind them, that I then backed up with the text. I spent a lot of time going through both of the plays in full, so that I could pick out quotes and moments which gave me more knowledge and context of the backgrounds of my characters. This made it easier to know how to play the characters. This effected the final performances massively, as without the research into my characters, my performance wouldn’t have been as believable and realistic, as I had broken down how ‘Alice’ and ‘Estelle’ would behave and why, as I knew their motives. An example of this is that by researching the ‘Laura Wade’ play ‘Alice’ in greater depth, I found that ‘Alice’ was from Sheffield. This then lead on to me working on a Yorkshire accent as I knew that it had to be believable for the audience and it is how she would talk and so that is what I needed to do to stay true to the play and realistically play her. Due to finding out she was from Sheffield, I then spent time researching the accent by watching video clips, which my tutor Lynn helped me to find. She also helped me to say my lines in the accent until I could do it confidently. This meant that in the final shows, I had a believable Yorkshire accent which showed the audience that we were performing a more modern version of the classic story. My character research also helped me to find a distinct character for ‘Estelle’. Uta Hagen’s questions showed me that she was posh, felt that she was superior to others, that she over reacts about small things and that she wants to be looked at by the male gender, as she is sexually driven. This then lead me to build off of those stereotypes and turn her into a clear character, which you can see in my final performances.
Another aspect of my research that was effective in benefitting my performances, was the work I did on the play’s themselves. I read both plays several times throughout the rehearsal process and watched as many versions of the pieces as possible. This is something that worked for me in ‘Inspired by Film, as it helped me to understand the piece as a whole, so I knew that it was important to do again for ‘Art and Life’. By watching the different versions, It provided me with inspiration, as often I would like the way an actress had said a line, the way something was staged or the way that they moved. I found that the 1964 ‘BBC’ adaption of ‘No Exit’ which had ‘Harold Pinter’ in it, especially helpful. ‘Katherine Woodville’ played ‘Estelle’ and I wanted to do a similar well spoken voice and so it was useful being able to watch it, to help me achieve something similar, which I believe I was successful in doing. Knowing the play as a whole also helped me to create depth to the characters. In the tea party scene in ‘Alice’, she is asking for answers about her brother ‘Joe’ but by looking into the play, I found that ‘Joe’ had died, which meant that the way I said my lines changed completely as I now knew that the stakes were higher. This resulted in me playing the scene with ‘Alice’ being more desperate for answers in my final performances, than I had originally played her at the beginning of the project. With ‘Estelle’, it isn’t mentioned in the scene that we performed but by reading and understanding the play, I found that she was in hell because she killed a baby. This was always something I had in my mind when I acted the scene in the final performances, as It gave it a mysterious dynamic how she had this secret in her head that she didn’t want anyone to know and that instead, she denied doing anything at all that would have meant she was in hell.
For my production research, we ended up not using a lot of the props and set we were going to use for ‘Alice’ but this was because of the research that I did on the Surrealist art movement. We decided that because ‘Alice’ was such an eccentric piece, it would fit in the Surreal movement even more, if the table and tea pot were all inside ‘The Hatter’ and ‘The Hare’s’ minds and there was no physical set, which ended up adding to the madness of the characters and the final piece. However the production research was especially helpful with the costume aspect of both pieces I was in. It showed the options available to us and made us aware of the fact that the characters in ‘Alice’ are highly associated with what they wear, so we wanted to have costumes that would make them recognisable for the audience. From the research we then tried to find colours and items that did this, which I think we did successfully, as our costumes ended up being very similar to some of the well known versions of the ‘Alice In Wonderland’ story.
As I mentioned previously, the research I carried out on art movements also had an impact on our final pieces. By finding out that Renaissance art had ideologies of focusing on humans and their culture, it lead us to make the choice to keep out movement to a minimal, as the piece fitted the art movement better if the main focus of our performance was what we were saying to one another. A huge part of the play ‘No Exit’ is the message of it and ‘Sartre’s’ views on the world, which this then allowed us to get across, without masking it with unnecessary movements.
The two performances ended up being highly successful but there was still a lot of improvements that could have been made, and things that actors, dancers, musical theatre students and production students could work on, so that our future shows are even better. For ‘Alice’, I think that my main strengths on the nights of the performances, were my accent, my character interactions, my casual characterisation which created the juxtaposition between ‘The Hatter’ and ‘The Hare’s’ madness and also how we dealt with the lighting issue on the first night. My northern accent was one of the big challenges I faced by doing ‘Alice’, as it was something I hadn’t done before. Therefore I am glad that by the performances, I had done enough research and work on it, so that it was believable and sounded naturalistic, which I have been told by countless tutors and students who saw the show that it was. The characterisation of ‘Alice’ was also consistent over both performances and as she was such a laid back and relaxed character, it allowed the audience to see the extent of the other characters madness, as they were so greatly juxtaposed. This lead to the interaction of our characters being strong, as we emphasised how confused and frustrated ‘Alice’ became with ‘The Hatter’ and ‘The Hare’. There was also a lighting issue that the production students faced, when it skipped two lighting cues in Jess’s monologue, which followed ‘Alice’. This lead to ‘Alice’ being unintentionally lit and although this was a problem, I am satisfied with how we dealt with it, as we remained professional by staying frozen in our neutral positions, until the lighting went back to black out. This meant that although something went wrong, we didn’t draw even more attention to it and stayed focused.
Something I would do differently if I were to do the piece again, is look at building up the frustration in ‘Alice’ more. It would have been interesting to try the scene with her calm at the start of the piece and then to physically see her annoyance build throughout the scene. This would have shown the light and the shade more in the piece but otherwise I am happy with how the piece turned out. Something else that we could have worked on, was waiting for the audience to stop laughing before we continued to speak, as there were occasions where we spoke over their laughter and this may have meant that some audience members missed a couple of lines. This is something I will be more aware of, next time and will try to work on in the next commission. As a group we worked well together as a team, which is something I identified early on in Task 1, that would be needed to successfully complete this project. It meant that we all helped each other by contributing our opinions and ideas and that we split all of the work equally in making props. We all had a positive attitude towards the performances and this allowed us to work more harmoniously like I predicted.
For ‘No Exit’, I think my strengths were, clarity of character, my voice, and my moment. On both nights I gave ‘Estelle’ a very distinguishable characterisation, which showed how annoying it would have been for the two other characters to be stuck in a room with her forever. This helped to convey the plot and made her stand out as being a stereotypical posh woman who complained a lot, which is how I wanted to portray her. One of the ways I did this best, was with my voice. From watching back the video that was taken on the second performance, I am pleased with my volume, clarity, diction and also the tone, which helped the audience to follow the piece as it made it easy to understand. I also liked how I included a lot of gestures, as I decided early on that this is something I wanted to be part of the character, as the way I did it made her seem superior to the other two characters, which is how she would have wanted to come across. Something that I would have liked to work on and develop further, is finding more times to pause and let the tension build. This would help to create the tense atmosphere we wanted to create in ‘No Exit’. In the next commission, I will make sure to go through the script in the early stages of the process, to see if I can experiment with pauses more and how it changes the piece. In the second performance of ‘No Exit’, there was a moment where Jamie forgot her line and froze, I then recovered the piece by improvising a line, which helped to remind Jamie of what she needed to say. This meant that her mistake was less obvious and therefore is something I am pleased that I was able to do, to keep our piece going. Erica’s improvisation lessons this year have made me much more confident in my ability to rescue a piece if something like this happens. It allowed the piece to keep going, which in the theatre industry is something that has to happen. We need to be prepared for anything and to be adaptable if something does go wrong, which I belive I was.
As for other groups in ‘Art and Life’, a lot of the pieces in the show were strong and several groups met the parameters and requirements I explained in Task 1. One of my points was that for the show to be successful, the pieces needed to be casted well and be suitable for the people we have in year one. An example of a piece that I believe did this well was the group who did the song ‘Who’s Crazy/My Psychopharmacologist And I’ from ‘Next To Normal’. Vocally they showed off their strengths both individually and holding harmonies as a group. Emily, Chris and Ryan particularly showed their singing ability and characterised through the song well with their expressions and movement. It was a piece that was well casted and because of this it resulted in receiving a good reaction from the audience. A piece which I think perhaps wasn’t casted as well was ‘The Grave Diggers’ scene. This may have been because Justin’s’ strengths lie mainly in comedy, from what I have seen in previous commissions and working with him in our acting lessons. It was also clear from watching the scene that both he and Alfie were not as confident with performing Shakespeare as perhaps some other students in year one. That meant that the scene was more difficult to follow from an audiences perspective, especially if they aren’t familiar with Shakespeare themselves.
Something else that I mentioned in Task 1 that was going to be required for this performance, was an understanding of art and more specifically art movements. Due to the theme in which Erica chose, the pieces all fell under an art movement category. Some pieces fitted better than others. One section that I think linked particularly well is the Renaissance section. This included the ‘God and Adam’ sketch done by Ryan Smith and Dylan, the sketch of ‘The Pope and Michelangelo’ which was performed by Will and Karolis and then ‘No Exit’ which Liam, Jamie and I acted in. The reason they worked so well is because the pieces had themes of religion, human nature, culture, the world and creation, which are all important in Renaissance art work too. They also were not subtle links as you could clearly see the religion aspect through characters such as ‘God’ and ‘The Pope’. This meant that the link was obvious and successfully fitted the art movement. A piece that I felt didn’t fit the art movement as well was Jess’s ‘Lady Gertrude’ monologue. I struggled to see how the serious Shakespeare monologue conformed to the same ideologies as Surrealist artwork, which is more mad and quirky. It was done in a classical style and this therefore didn’t fit in with the movement. Never the less, it was still a good piece, yet I don’t believe it fitted the art movement, which we wanted the pieces to do. It may therefore not have been the best choice for a piece to include.
Energy was also something that I knew was going to be important for the performances and I believe that Jamie and Millie were particularly good at this with their song ‘Its Raining Men’. They really went for their characters by giving them bold movements, over the top facial expressions and because of the energy they bought, it made the piece fun to watch and entertaining. It was a good example of how energy can benefit a performance like these.
As for commitment and team work, I think that the dancers did an excellent job at doing this in multiple pieces they were in. The ‘Incantation’ dance that Crystal and Sophia did and ‘The Burlesque’ dance that Katie and Becca did were good examples of this. Both pieces had fantastic characterisation and the burlesque piece was fun and cheeky and conformed massively to the style of dance. It was obvious that they had clearly worked hard together, so that they were able to drill their movements and coordination. This is also true for Sophia and Crystal’s dance, which had great story telling and was dynamic to watch. They too had good facial expressions and you can see the commitment and team work involved in their piece, by the trust required and the level of difficulty of the piece. It made two outstanding pieces that were positively received and an example of what is possible in our commission shows, if the team work and commitment is there.
Overall, I have learnt a lot in this project and gained several new skills. The voice and accent work that I did for both of my pieces, has been very beneficial to me and is something that as a performer, I will be able to use in future productions if I need those specific accents again. Having to learn them has also allowed me to explore techniques in learning new accents, which I will be able to use in the future as I know the methods that work best for me, such as looking at videos online and they trying to replicate the voice. Knowing that this method works for me means that next time I learn a new accent, I hope that I will be able to learn it in a quicker amount of time, as I will now know how I learn best. I have also learnt the impact of having positivity and being able to work well in a team in these types of projects. This made our decision making much easier as the group worked harmoniously. I also believe that it resulted in less disputes, as we all wanted our piece to succeed. The team work feeling that ‘Alice’ had, may have also been a result of good communication. This is something else I will make sure to replicate in future commissions, as we were able to easily share ideas and all felt that we had made contributions to the final pieces. This along with a well planned out, yet still adaptable schedule, will help to achieve the work we want to get done in the future commissions and other performances. we are a part of.
This project also showed how important working as a company is. Production students, musical theatre students, actors and dancers all need to be able to get along, so that the best work is produced at the end. This is something that I can carry through in my future career, as being able to get along with people is important in this industry, as it will often be how people get casted for jobs, if they have a positive reputation of being someone who is easy to get along with. Doing in depth research will also benefit me in the training that I want to go into, this lead to a lot of key character decisions I made and meant I gave a more believable performance as my choices were informed. What I need to work on in the next commission is not allowing my stress to affect the work I do. There were times that I feel like I got too stressed, which ment I didn’t work as effectively, as I wasn’t able to make rational desisions. Other than this, I am pleased with the work I and skills I put into place in this commission.