Below is my personal statement. It is the statement that I will attach to my UCAS form. I mentioned GSA in my closing sentence as it shows that I am determined to get in and shows that I am bold enough to name-drop, as it were. The reason I can do this on my UCAS form is because I am only applying to one place.
I chose to move school for sixth form in order to really focus on performing arts. I am aiming to complete the BTEC Extended Diploma with the highest possible grades. The three components of the course that I have enjoyed the most are the Musical Theatre Unit (I would like to pursue all three disciplines), the Physical Theatre Unit (I enjoyed learning about the different types and companies such as Frantic Assembly and DV8) and studying Stanislavski. The three parts of the course I would enjoy the most are the public performances and rehearsal projects; I love the thrill of preparing productions for performance. I am especially interested in learning about the voice and how it works. Knowing how the voice and body works gives you a better understanding on how to stay healthy and to improve stamina. Drama is very useful for improving confidence and other essential skills such as good communication and good body language. These skills are really useful for meeting new people and making a good impression.
During my studies, I have taken part in a wide variety of productions and projects which have really extended my skills, taking me out of my comfort zone as a performer in a positive way. I am currently a teaching assistant and choreographer at Margella School of Dance. This job involves working with children of all ages and thus requires good communication skills, patience, drive, good observation and a knowledge of health and safety. I am often given multiple jobs to do at once (dealing with finance, uniform and music), so I have developed the skills of organisation, time management and coping well under pressure.
I recently attended a one day intensive course with Tap Attack. I intend to take part in more workshops to learn as much as I can about the industry and to meet as many industry professionals as possible. I also see as many shows as possible, as I believe the more I watch the professionals the more I can learn from them. I have visited the "Curtain Up" exhibition at the V&A Museum and have seen many West End and Off West End shows, and one Broadway show, "School of Rock". I have been inspired by Sierra Boggess and have watched her documentaries, including her eight day series "Daaé Days", seen her perform live and met her in America. I have taken part in multiple dance, vocal and Musical Theatre workshops with professional dancers and West End stars. I subscribe to The Stage Magazine to learn about the industry and keep up to date with current affairs.
I am a student at Razzamataz Theatre School Medway. Attending every week has taught me to work collaboratively, professionally and in a focused manner. Two achievements I have accomplished as a group with Razzamataz are first place Musical Theatre Vocal category at Kent Dance and Vocal Challenge, and Glee Club Challenge Winners 2016, performing in the finals at the Indigo O2. One of my proudest achievements is being Student of the Year at Razzamataz Medway. I was awarded this for my determination, encouraging nature and ability to work as part of a team. I have completed my IDTA ballet grades, been awarded medals in ballet, tap and freestyle with IDTA at distinction level and achieved distinction in my Grade 6 LCM Musical Theatre singing exam.
I have developed a strong passion for opera through my singing lessons. Each week I strive to achieve the targets I set myself. Outside of lessons I do independent research to develop my knowledge on the history and culture of the art. In order to improve my confidence as a solo performer I take every opportunity to sing solo in public, for example competitions and charity events.
I believe that the combination of my passion for performing and general determination to be successful combined ensures that I will value every moment of my opportunity to train, learn and develop at GSA.
In this lesson we completed our piece and performed it to the rest of the class. We decided that our ideas from last lesson were a bit dry and we couldn't get any inspiration from them to carry on so we decided to change what we were doing. Our final piece was as follows:
Aftermath - Me in centre crying. Charlie lying behind one audience member in front of me. Others standing behind other audience members. - Experiments with actor-audience relationship. Actors positioned behind the audience makes the audience more vulnerable. Uses proximity to create tension. Use of sound builds atmosphere as well. Blackouts enable changes without audience seeing, also creates tension.
Charlie's body - Charlie in centre lying on floor as if dead. I run in from behind the audience towards him and try to wake him up, panicked. Others behind the audience. - Audience shocked at how there is someone else in the centre. Feel sympathy for my character.
The lift - The other three come in from behind the audience, pick me up and then lift me over an audience members head. - Experiments with levels and actor-audience relationship.
Disorientation - Change of music. Charlie in centre staggers about and holds head. Others walks backward, circling audience, then all stop at once. - Audience is also disorientated like Charlie. Music creates contrast. Quite deafening. Flashing lights. Includes lots of Artaud techniques.
In the club - Physical theatre duo sections inspired by Frantic Assembly and "People, Places and Things". - Manic atmosphere and lots of commotion. Shows Charlie taking the drugs and presents narrative.
Aftermath - Everyone ends on the floor. Change back to the dripping sound. - Presents cyclical structure.
If we were to do this piece again, we would have had our music louder so it is almost deafening, as this is an Artaud convention. We would have had proper strobe lighting (for ten seconds at a time, as you are not supposed to have strobe on for longer than this) during the disorientation and in the club sections. We also could have has a strong wash of light between each blackout to create more of a contrast and to almost blind the audience initially. Unfortunately, our piece didn't come out very well for camera as it was too dark, but we got the effect we wanted for out live audience. I particularly enjoyed this section as it is something I haven't done before and it is very movement orientated.
I included the movement on the line "how could he have done?" as suggested. However, I don't think this looked very natural as it didn't feel natural as I am so used to how I used to act it
I don't think I was as convincing as I have been at being high due to my tone of voice
Conversation:
I showed that I knew what the entire play involves (rather than just my monologue)
I stumbled on my words saying why I chose my monologue. I should have thought about my answer to this previously so I knew how to phrase it
Re-direction - As if I was angry at who I was speaking to. Talking to the camera:
I wasn't sure whether to do this in the accent or not, but I decided to challenge myself and go for it. If I performed this in my normal voice I think I would have done better as I could have focussed more on my face, tone and movement, rather than worrying about my accent.
I also wasn't sure if I should play it as if I was high or not still. I decided that I wouldn't be high as when taking marijuana you are more chilled out, and as my character was angry, I guessed she wouldn't have been high at this point. I should have considered this monologue with different emotions as to make these decisions earlier rather than getting flustered in the moment.
I could have done more with my facial expressions, bearing in mind that this was for camera and not stage. I think I should have filmed myself in rehearsal, zoomed in to my upper body more, as to make myself focus on my facial expressions more, rather than just my body language as a whole.
Although I didn't maintain my accent very well throughout, I think that I portrayed my character's anger through my use of tone and volume. I had a lower tone and emphasised certain words more.
To begin today's lesson, we all presented our research on Artaud. I particularly liked what Lewis put in his presentation as I thought it summed up Artaud's intentions quite nicely: "He wanted the audience to expel destructive feelings and experience the joy that the social order forced them to inhibit". One word that popped up in almost all of the presentations was the idea of "surrealism". A definition of the adjective "surreal" from Dictionary.com is "having the disorienting, hallucinatory quality of a dream; unreal; fantastic".
Our stimulus for creating a short Artaud inspired piece is a painting by Salvador Dali. This painting is called "Impressions of Africa" and was painted in 1938. We were split into two groups and told that we would create a short piece using some of Artaud's techniques. We weren't told the title of the painting so we were not influenced - we had to create our piece from the painting rather than the painting's title. The group I am in consists of both Ollie's, James and Charlie. As we are completing and then performing this next lesson and Ollie Marshall won't be in (as he has an open day at a college), Ollie was our director.
Our first step to creating our piece was to all say what we saw first when we looked at the painting. Charlie saw a man on the run, I saw someone crawling, James saw a ghost and Ollie saw a werewolf. We then thought that the ghost-like woman above the painter's head could be a distant memory of a woman he was close to.
We decided that we definitely wanted to experiment with the actor-audience relationship, as this was one of Artaud's main conventions. We decided we wanted our audience to sit in-the-round but separately from each other. We wanted to perform both in the circle and behind the audience. By performing within the circle, everybody would see what was going on; whilst by performing sections behind the audience and by constantly changing positions, the audience would feel disorientated and vulnerable. We also wanted to experiment with black-outs. This would enable us to change positions quickly to confuse the audience and make them feel vulnerable as they wouldn't know what was about to happen next - a little bit like being on a roller-coaster in the dark, not knowing what is around the corner but enjoying the suspense.
After discussing what we thought of when we first saw the painting, we decided we would work with the idea that Charlie's character was grieving over the loss of his mother and we could flashback to her death. However, we are not 100% sure on what we shall do yet, but we shall continue working on this next lesson.
Our final acing style we are looking at is Artaud. I have already done a little bit of research on Artaud (http://lornaclarkra.blogspot.co.uk/2016/05/antonin-artaud.html), but we got into pairs and made a presentation on Artaud's conventions. Above is our poster. Next lesson we shall present our findings to the rest of the class. The purpose of this is to ensure everyone knows as much as we can about Artaud and to widen our knowledge.
In today's lesson Cameron and I went over our dance from yesterday. Thankfully, I have found a backing track similar to the Broadway show version. The only difference is that the backing track has a dance break in it, however, I will be able to edit the track to cut out the dance break. We edited our dance slightly so that I was downstage as otherwise I can't be seen at all, due to our height difference. We then polished our dance and went over the bits we were struggling with. I also wore my heels as our height difference is so vast that some movements were genuinely more challenging than they should have been.
We then worked out what we would do during the parts of the song which aren't danced. We then sang the song whilst dancing. We found this quite challenging but manageable. We will keep running through this to improve our stamina and to make it easier for us and more natural.
At the end of this lesson I also quickly sang through "Take Me or Leave Me" with Alice to ensure that I remembered all of the harmonies.
In this lesson, the class either drew set designs for different scenes or drew costume designs for their characters. However, Cameron and I decided that we would go off and start setting "Tango: Maureen". As we know we don't have long to work on this, as we know that as soon as Henry is back we will be working on group numbers, we used the majority of the choreography from the Broadway show. We shall do our own thing on the parts of the song that aren't danced but decided we would use a lot of their choreography. Cameron isn't very confident at dancing so I learned the choreography from this video but then simplified it or changed bits for Cameron and I.
After a lot of practising we managed to get a pretty strong routine that we were happy with. We then performed it to the class and was then told that we would be performing a different version of this song due to only certain backing tracks being available. Therefore we will have to adapt our dance as different versions of the song slightly change the order of what happens. However, this definitely was not a wasted lesson as we both are more comfortable dancing tango steps and know what we want to do with this piece. As soon as we get the correct backing track, I shall adapt the dance to fit the track, and quite possibly simplify sections to make it easier for us both to sing at the same time. However, we would like to keep the routine as similar as we can as we are both happy with it. As soon as we get the backing track and start working on our new version of our dance, we shall sing it whilst learning to dance it, thus making it easier to sing and dance at the same time, and making it feel more natural to do so.
In this lesson we all performed our monologue that we will be performing on Friday. I have definitely decided that I shall do my monologue from "Assassins". After performing our actual monologues how we have rehearsed, we were told to perform them in certain ways without preparation. The reason we did this was because we may have to do this in an actual audition. This tests our ability to take and follow direction, to improvise and to see how versatile we are.
Feedback after doing my monologue:
Take care with accent as it wasn't always consistent. I know that I lost my accent on the line "like the whole world was dividing into two parts. Me, and everybody else". To ensure that I don't slip out of the accent, I shall keep repeating this line, and if I am still struggling, I shall find a clip of someone else doing this monologue to see how the line should sound.
Maybe lean forward on the line "who told him". This would make the piece seem even more conversational and would avoid me sitting in one position for so long.
I was told that I was engaging from the very start and managed to keep the audience engaged the whole time.
James said that he really liked how I mimed playing with the knife at the end.
First Re-Direction: - Upper-class British Woman talking to the Royal Family over dinner
Apparently this was very comical - especially the line "piece of shit".
They said that I had a good use of tone and pace
I maintained my accent throughout.
Second Re-Direction: - In an interrogation with someone pointing a gun at my head
Good use of pauses
Maybe vary tone a little bit more? Perhaps get a bit aggressive then bring it back down again.
In this lesson we polished our physical theatre piece of "Not Waving but Drowning". Due to an absence last lesson and a different absence last lesson, James took Lewis' place. We went over the piece a few times to ensure it was how we wanted it to be. We then filmed it.
I really enjoyed doing this piece because it enabled me to combine my favourite part of English as well as the movement side of drama. I was able to analyse the poem and then be creative with what sort of movement we could come up with.
"Round 1: Jazz workshop. Prepare a one minute section from a "legit" Musical Theatre ballad written no later than 1965. Prepare a one minute section from a contrasting Musical Theatre piece. Bring sheet music for both. Avoid pieces that require "extreme" character voices." - http://lornaclarkra.blogspot.co.uk/2016/10/business-7-task-c-arts-ed-research.html
I am not going to audition for Arts Ed, but below is what I would have prepared if I was going to. Pre-1965 Musical Theatre Ballad:
"My Funny Valentine" from "Babes in Arms"
This song shows a good range. It allows room to make it your own (i.e. when you can belt or use head voice, or mixed).
Contrasting Musical Theatre piece:
""Green Finch and Linnet Bird" from "Sweeney Todd"
This song would show off a higher register compared to "My Funny Valentine". It also shows whether you have a string head voice or not. It is slightly operatic, thus making it a contrast to the other piece. It doesn't require a character voice but you can still tell a story through it. When picking the one minute section, I would chose the final minute or so as to include the trill and the top note.
We were given the poem "Not Waving but Drowning", by Stevie Smith, and told to make it into a physical theatre piece. The poem is as follows:
Nobody heard him, the dead man,
But still he lay moaning:
I was much further out than you thought
And not waving but drowning.
Poor chap, he always loved larking
And now he’s dead
It must have been too cold for him his heart gave way,
They said.
Oh, no no no, it was too cold always
(Still the dead one lay moaning)
I was much too far out all my life
And not waving but drowning.
We decided that we would discuss what the poem made us think of and how we would interpret it. We considered an old man in hospital who dies during the night. However, we didn't see how this would connect to "waving" and "drowning". We then though that we could do suicide. This would link to the "dead man" part and the "drowning", as we could say that he was "drowning" in stress and pain.
We then thought about what could happen to the man and came up with the following: bullied at school, abused by parents, break up with girlfriend and fired from his job.
We are using "useless information" by "Apparat". However, we begin and end our piece with sirens. This gives our piece a cyclical structure. In our piece we use unison with Charlie (who's playing the man) doing something else to show that he is different and doesn't fit in. We have used Frantic Assembly's technique of "round-by-through" in our "office" section. To include the actual poem, Ollie Kelly and I read certain lines - we are playing the mum and dad. We say the whole of the first stanza at the beginning (apart from the "dead man" line as we didn't think this would work). When Ollie and I sit down on the blocks he says "and now he's dead" as he can't believe it. There is then a pause and I say "it's cold" as if trying to change the topic. We then say the last two lines of this stanza. We thought that we should only include fragments of the poem rather than reading the whole thing as it worked better with what we had created - it was more creative and avoided someone reading the poem with a dance happening behind them.
Our piece is as follows:
Opening - Death
Childhood bullying
Child abuse
Break up
Office
Death
Next lesson we shall polish this piece and then record it.
For this lesson we were given a short section of script from the play "Let the Right One In". In this scene, the group of school children are playing about on the ice. Oscar gets bullied and threatened to be forced into the icy water, however, Oscar finds a stick and hits the main bully with it. On his third hit, Oscar hits him on the head, causing a nasty head wound (resulting in him going in to a coma later on). At this point the teacher - who is aware that Oscar has been bullied for a long time but has done nothing about it - come over and demands to know what has been happening. The scene ends with Oscar telling the teacher that he "could have done something" but he didn't.
We were told to create a physical theatre piece around this and perform the scene as well. Instead of ice skating, we decided have a snowball fight instead, as there was more we could do if we pretended there was a lot of snow, instead of ice. We thought it would look silly if we all pretended to skate, so we thought we could find a few movements to portray a snowball fight and start them in cannon to then form unison once everyone has joined in. We ducked, scooped our hands together, mimed rolling a snowball, and then jumped and threw our snowball. While we all joined in the sequence in cannon, Lewis (who played Oscar) mimed shovelling snow out of the way. Everyone, except Lewis, started on opposite sides of the room to do our snowball sequence. We continued this sequence for a while on the spot, and then did the same sequence in unison facing the front and travelling to cross over to be on the other side of the room. The purpose of this was to represent Oscar's confused state of mind and to suggest that it seems the whole world is rushing about him whilst he is stuck in the middle.
Lewis then repeats the sequence we all do, whilst we turn our back on him - as he turns round to see what we thought he sees us walk away into a tight circle at the back. This shows that no matter how hard Oscar tries, he will not be accepted or popular. When in our circle, we move round in the circle to create tension and suggest that things are about to spiral out of control. We opened up our circle and invited Lewis closer only to reject him and push him to the floor. Rob and Lewis did a mini support lift to get Lewis to the floor (Rob grasped Lewis' neck and moved his arm as Lew jumped up and dropped, to make it look like Rob had picked him up and thrown him down).
We went a little bit Brechtian by giving Kat a whistle to blow to end the physical theatre section and to begin the actual scene itself. Ollie (Kelly), Lewis and Rob acted this scene naturalistically downstage, whilst Ollie and I mimed having snowball fights and playing in the snow whilst Kat watched.
I really enjoyed doing physical theatre as an acting style because I enjoy using movement to tell a story. I like how there are many different ways and different types of movement to portray different things. I also like how it doesn't have to be just movement - you can use speech, sound and stillness as well.
"Round 1: Two contrasting songs from the musical theatre repertoire at no more than two minutes each. Bring sheet music in the correct key. Prepare one Shakespeare monologue and one contemporary monologue (after 1979) from published plays at no more than two minutes each. They must be performed in your own accent and the character must be your gender and close to your age. You will also take part in a dance class (involving warm-ups, stretches, corn work and a short routine)." - http://lornaclarkra.blogspot.co.uk/2016/10/business-8-task-c-mountview-research.html
I am not going to audition for Mountview, but below is what I would have prepared if I was going to audition.
Two contrasting songs:
"Wishing you were somehow here again" from Phantom of the Opera.
"Rain on my parade" from Funny Girl.
The songs are contrasting. The first piece is quite classical and is sung by Christine at her father's grave. The second is a belting song sung by Fanny, who just wants to perform.
Shakespeare monologue:
The Emilia monologue from Othello that I learned for my Auditions unit. The character profile I made for this monologue is on the following blog - http://lornaclarkra.blogspot.co.uk/2016/09/auditions-7-character-profiles.html. The reason I would do this monologue is because I am very familiar with the play that it is from, and I can connect to the character because I share similar views to her.
Contemporary monologue:
The monologue from The Power of the Dog spoken by the character Lisa. This monologue is a comedy monologue and the character is my age. Also, it is in my own accent. The play was published in 2005.
In today's lesson we continued working on random pieces.
The first piece we worked on was "Santa Fe". Originally, this was just Lewis, Cameron, Owen and Henry. However, we decided that everyone would sing in this to add more depth in terms of harmonies. I taught Warren, Alice, Tyler and Will then "oo"'s that go underneath the melody and then the harmonies we come in on. What we have left to do for this piece is to teach Henry what he has missed and to stage it.
We then sang through "La Vie Boheme". This went really well as everybody is off of script. However, some people are really slurring their words on the fast verse: "Bisexuals, transsexuals, homo sapiens...". This is either because people don't know it or can't cope with the speed - either way I think we need to break it down and sing through it slowly and then build the speed up. Other than learning the words and polishing the vocal side of it, all we have left to do is put Henry in to it and to stage it.
Cameron and I also sang "Tango: Maureen" today. This was a lot better than last week, although there is still one section that our harmony isn't quite right - it doesn't clash, but it isn't the correct one. Also, I am still not overly confident on the harmony "you pretend to believe her but in the end you can't leave her". All we have left to do is ensure our harmonies are accurate and set the dance to it and the blocking of the speaking sections. We also need to learn the introduction (depending on what version of the song we are doing).
Alice and I sang through "Take Me or Leave Me" a couple of times today. The first time didn't go so well as we kept singing the wrong parts and the harmonies weren't quite working - we just sang in unison when we felt the harmonies not working. However, Owen and Lewis got up to sing "I'll Cover You" so in the meantime I listened to the harmonies of the last section. On our second attempt, the harmonies were a lot stronger and we kept to our own parts, however, we could do with singing this together a few more times and just "note bash" it (i.e. just work on the parts we are struggling with) rather than just singing the whole song.
To finish this lesson we sang through "Rent". We didn't expect it to be great as we've only sung through it once but this, unfortunately, wasn't as good as we had hoped. We can't really do anything more on this song until people have learned it.
This lesson was split into three sections (apart from the physical warm up at the beginning): character profiles, improvising situations and improvising with a chair. Character profiles: Name: Lynette "Squeaky" Fromme Age: 27 Upbringing: Middle-class Setting: Los Angeles, 1970s. What's happened: Been arrested. Talking to councillor Situation: High on drugs. Been kicked out by father. Feels alone unless with Charlie.
Improvising situations:
As our characters, we were given a scenario and had to improvise. Ollie and I were paired up. Ollie was Eddie from "Blood Brothers" - so was a seven year old from Liverpool. Our scenario was that we were the last ones at the baggage claim at an airport. However, our bag contained illegal drugs and it still hasn't turned up. Have we been caught? I think that we worked quite well together as we didn't block each other, and went with what the other person was saying. Our feedback was that we both clearly understood our characters and our dialogue was good - I was complimented for my line "you go talk to him, you're... smart" as I acted this specifically well. Although we didn't pause too much, I could have done more with his age - for example, tell him that we can't tell anybody about what's in the suitcase and make him promise he wouldn't.
Improvising with a chair:
For this, I was paired with James. He was playing a soldier from "Private Peaceful". James' intention in this scenario was to get me to leave instantly as there was a terrorist attack. My scenario was that I was waiting for my drug dealer, but if I left my chair I would never have drugs ever again. For this exercise, we were told that we clearly understood our characters and remained in role the whole time. However, I could have been more defensive or threatening as my character is dependent on drugs. Also, we possibly could have played on the fact that he is British and I was American. Review:
I have never been a fan of improvising as I find it really difficult, but I actually really enjoyed it today. I enjoyed the challenge and am starting to get the hang of it. I found it really useful as it makes you forget about set dialogue, allowing you to think more about your character in terms of movement, voice and how they would act in different scenarios.
We began this lesson with a quick vocal warm up and then we all performed the songs we worked on last lesson, as well as other songs. After our warm up, we all sang through "Seasons of Love" just to keep it fresh and polished and to show Tom. Tom is an ex-student who did Rent last year as his Workshop Unit. This was the production of Rent I did as Maureen; Tom played Roger. As Tom was Roger, he stood in for Henry (who won't be back until after half-term).
The next song I did after "Seasons of Love" was "Take Me or Leave Me" with Alice. Despite the fact that we have never sang this together, we were quite happy with how we did. We both knew our character intentions throughout this song and which parts were ours. However, where I am used to being Maureen, I was not confident with Joanne's harmony for the final "me". Therefore, for today we just sang it in unison. What I shall do before singing this again, is listen to the ending to ensure that I am confident on my harmony. What Alice and I will do is actually practise this together to ensure that we are both confident on the parts that overlap each other.
After singing "Take Me or Leave Me", I sang "Tango: Maureen" with Cameron. This went surprisingly well bearing in mind that we had only got the first half of the song sorted on Monday. On the whole, we are confident with the vocals, all we need to do is sing through it a couple more times together to build our confidence. Cameron will learn the lyrics off by heart, and I shall go over my harmony for the final part of the song so I feel more confident with it. Once we have sung it a few more times together, we will be able to start setting the piece and learning to tango! The image on the right shows the lyrics to "Take Me or Leave Me" and I have annotated them with where the harmonies are and character intentions.
The final song that I sang today was "La Vie Boheme". Today was a big improvement on last time we sang it, as nobody was using lyrics and we got into the mood of the piece more.
In this lesson we performed the first scene of "He's Talking". Before we could film this scene though we worked on our voices and polished our movement. In terms of voice, we had to sound more posh when we were speaking as our characters are all rather wealthy and quite spoilt. We decided against having South African accents as we knew that we would be worrying about them so much and so would not be focussing on our movement or characterisation. When speaking, we had to ensure that we didn't sound too posh or speak with too low a pitch so we didn't sound too old.
Our movements had to be really naturalistic as this scene is naturalistic. We had to really think about our characters to know how we should sit. My character is quite confident so I slouched back a little bit and crossed my legs. I sat still for the majority of the time as there was no need for me to move and also I think my character is quite refined and just wants everything to be out in the open and clear.
The majority of us found that this style was our favourite as we could really think about our characters and aim to become them and portray them most convincingly.
The two videos that made up our scene. Unfortunately, Charlie was not in today so we didn't have a Miles. In rehearsals, our teacher stood in for Charlie, but due to recording she completely forgot to come in, so we did this in two halves.
I have enjoyed this acting style the most so far as I have been able to do a lot of research into the play and my character. I have enjoyed trying to understand my character and then trying to portray them convincingly. I have enjoyed learning about Stanislavski's techniques to beomcing a character - for example, the "magic if's" and the seven questions.
Unfortunately, Henry is really ill at the moment and has come down with glandular fever, so is currently in hospital. Therefore, instead of trying to work on group numbers, we split of into pairs or solos to work on our solos or duets. I have one solo and two duets - one duet with Alice ("Take Me or Leave Me") and one with Cameron ("Tango: Maureen"). Alice and I are quite confident on our own parts for our duet, so she worked on her solo ("Over the Moon") whilst Cameron and I went off to work on our duet.
Above are the lyrics to our song, which I have annotated with what our characters are feeling and whether the lines are spoken, sung in unison or have harmonies.
